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Book,__ 
CopghtN"_ 



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COPYRIGHT DEPOSIT. 



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HAND-LOOM 
WEAVING 

^ pXattwal for ^chooi anh ^oxm 

By '^' 

Mattie Phipps Todd 

Of the Motley School^ Minneapolis, Minii. 
With an Introduction by 

Alice W. Cooley 

Formerly Supervisor of Primary Schools, Minneapolis, Minn. 



^ftlr ^iftij-^&^t»en ^UM«tratts>n» 




Educational Publishers 

New York Lo7idon 



Chicas^o 



THE LIBRARY OF 
CONGRESS, 

"Two Coftuc RtCSIVEB 

NOV. 2*3 190? 

CLARsCXtXXc No. 
OOPV B. 






Copyright^ igo2^ 
By Mattie Phipps Todd 



THE TABLE OF CONTENTS 



The Table of Contents 



PAGE 

An Introduction. By Alice IV. Coo ley .... 7 
Chapter Ojie. The Primitive Loom . . . . 13 

Chapter Two. A Chat on Weaving .... 22 

Chapter Three. First Steps in Weaving ... 30 

Chapter Four. Methods of Stringing Warp 42 

Chapter Five. Materials 51 

Chapter Six. Directions for Dyeing ... 58 

Chapter Seven. Methods of Splicing Materials 

for Weaving 83 

Chapter Eight. Wool and Silkoline Rugs or 

Mats 86 

Chapter Ni7ie. Hammocks • • 93 

Chapter Ten. Face and Dish Cloths and Bath 

Rugs 99 

Chapter Eleven. Raffia Mats loi 

Chapter Twelve. Oriental Rugs 122 

Chapter Thirteen. Navajo Blankets 135 

Chapter Fourteen. Songs, Games, and Stories . . 143 
Chapter Fifteen. A List of Helpful Books and 

Magazine Articles . . . .153 
The Index 159 



T/ie 

Table of 
Conte7tfs 



aint of art i& 

xt&i^fnl ihixxQ 
beaxxiifnL 



AN INTRODUCTION 



An Introduction 

117 OR many years we, the teachers of the 
United States assembled in village, city, 
State, and national conventions, have recited 
our creed and chanted it in all keys. 

We believe that man is a trinity, three 
in one — head, heart, and hand, one soul 
made manifest ; we believe that this union 
is vital and indissoluble, since ''what God 
hath joined together" may not be rent asun- 
der; we believe that this three-fold man, 
being ''put to school" on earth to grow, 
may devise and bring to successful issue 
no scheme of education that is out of har- 
mony with the plan of the Creator. 

Congratulating ourselves upon our ready 
and distinct utterance of this lofty thought, 
we have calmly returned to our man-devised 
book-schools for the acquisition of knowl- 
edge, in order to forward some plan for the 
accumulation of more knowledge. 

But '' wisdom lingered " ! Here and there 
voices were raised that would not be silenced: 
"You sang your beautiful song ; what are you 
going to do about it ? " In the words of John 



Our creed 



Deeds, not 

ivords, 
are tiow 
necessary 



HAND-LOOM WE A VING 



Physio- 
logical 
truths 



Stuart Mill, " It is now time to assert in 
deeds, since the power of words is well-nigh 
exhausted." 

Investigators, studying this union of head 
and hand from the physiological side, hurled 
truths at us that startled us from our lethargy. 

Every stimulus poured into nerve cells 
through the avenues of the senses tends to 
pass out in motor action, which causes mus- 
cular movement. In every idea are vitally 
united the impression and the tendency to 
expression in action. The nervous system 
consists of the fibres which carry currents 
inward, the organs of central redirection, 
and the fibres which carry them outward — 
sensation, direction, action. Since control 
means mental direction of this involuntary 
discharge of energy (directed muscular 
movement), control of the muscles means 
development of will as well as of skill. To 
prevent or cut off the natural outflow of nerv- 
ous energy results in fatigue and diseased 
nerves. Unrestrained and. uncontrolled ex- 
penditure of nervous energy results in law- 
lessness and weakened will. 

Men of science said: "These are facts 
about man. What account have you made 
of them in your elaborate system for edu- 
cating him?" 



AN INTRODUCTION 



Labor 
must be 
respected 



Students of sociological and economic 
problems called out to us as the teachers of 
men: 

These great problems concerning the 
relation of labor and capital (the brother- 
hood of man) will never be solved until there 
is greater respect for labor ; greater appreci- 
ation of the value of the products of labor; 
until there is more joy to the worker in 
his labor, which should be the expression 
through his hand, of the thought of his head, 
and the feeling of his heart; until labor is 
seen in its true light, as service; until the 
man with money as well as the man without 
learns through experience to respect and 
appreciate labor and its products. " We 
absorb only so much as we can interpret in 
terms of our own active experience." 

What contributions are our schools mak- 
ing to the bettering of social and industrial 
conditions? 

Philosopher and poet — thinker and seer 
— send their message : 

"That life is wisest spent 
Where the strong, working hand 
Makes strong the working brain." 

To create, to make something, is the 
instinct of divinity in humanity, the power 
that crowns man as divine. 



10 



HAND-LOOM WE A J'/NG 



The will 
to do 



Sysferttatic 

hand- 

trainiiig 

the work 

of to-day 



"It is his impulse to create 
Should gladden thee." 

The practical business man thunders his 
protest at us against the inefficiency of the 
man with only the knowledge-stored brain. 
He says : We must have men that can ivill 
to do, and then do something, not merely men 
that can think of things " 'twere good to do." 
Our public schools must train men and 
women to go out and take their place with 
the workers of the world, to do something 
well and effectively. 

At last we are awake, and throughout the 
country we are trying to heed these calls, 
and to revive our own weakened thought by 
action, singing our creed in deeds. Upon 
the foundations laid by Friedrich Froebel 
and his students in the kindero^arten, we are 
trying to build up a course in systematic 
hand-training, through the primary, to inter- 
mediate and grammar grades, and thence to 
manual training in the high schools. What 
to do and Jioiv to do it has now become the 
practical problem of the day. Everywhere 
the wide-awake primary teacher is sharing 
her thought and experience with her co- 
workers. 

For little children, the zvJiat must utilize 
material suitable for little fingers, and tools 



AN INTRODUCTION 



II 



must be large. The finished product should 
belong" to the maker, or be made by him as a 
service rendered to others ; the result should 
also be worthy of keeping or giving, from 
the view-points of both beauty and utility. 

Another important factor is the adap- 
tation to present public-schoolroom condi- 
tions, and to present public-school treasury 
conditions. 

More thoughtful study has led to the 
abandonment of the old-time sewing and 
fine handAvork in kindergarten and primary 
school. In its place we find the weaving of 
useful and beautiful articles, out of various 
available materials, and with simple, primi- 
tive tools — allowing always for much and 
varied use of the great tools, the fingers. 

It is interesting to note that teachers 
in all parts of the country, working inde- 
pendently of each other, have come to prac- 
tically the same conclusions, viz., that under 
present conditions, iveaving seems the best 
basis for a systematic course in industrial 
work that shall train head and heart as well 
as hand. It is also of great interest to 
remember that the signboards along the 
pathway of race development, by means of 
work, exchange of labor and its products, all 
point to this idea as the entering gateway. 



Weaving- 
/he best 
hand work 
lor 

prt7na7'y 
schools 



12 



HAND-LOOM WEAVING 



Weaving is the first industry of all primitive 
peoples. 

Being practically agreed as to what shall 
be the first industrial work in the primary 
school, the next great question is the Jioiv. 
With large numbers of little children in her 
own schoolroom, the author of this manual 
has long sought a satisfactory answer. Be- 
lieving that the results of her study and 
experience will be helpful to others in sug- 
gesting possibilities, and in stimulating 
thought, as Vv/'ell as in practical teaching and 
time-saving, she sends forth this little book 
with the earnest hope that it may in these 
ways be of real service. 

Alice W. Cooley, 



This 

the result 

of study 

aii'd 

experience 



August ist, igo2. 



Critic Teacher and Instructor^ 
University of North Dakota. 



THE PRIMITIVE lOOM 



O 



Hand-Loom Weaving 

THE PRIMITIVE LOOM 

VVTEAVING, the oldest of the industrial 
arts, dates back so far that no one 
can say when or where it had its beginning. 
We read in Genesis iii, 21, that when Adam 
was driven from the Garden of Eden he 
wore a coat of skin ; but, not long after, 
according to Professor Hurwitz, the descend- 
ants of Adam wore an upper garment called 
the simla, which consisted of a piece of cloth 
about six yards long and two or three wide, 
greatly resembling a blanket (Ashenlmrst). 
This might have been woven from vegetable 
fibres, perhaps from wool, but in what man- 
ner we do not know. The warp and woof of 
linen and woolen garments is mentioned in 
Leviticus xiii, 47, 48. 

Spinning and weaving have been prac- 
tised by the Chinese, Hindoos, and Egyptians 
for thousands of years and carried by them 
to great proficiency. The Israelites were 
probably familiar with the art of weaving 



History 
of ' 
zveaving 



H 



HAND-LOOM WE A VING 



Dyeing 



Ugration 

of 

weaving 



Weaving 

as 

the first 

iitdustrial 

ai't 



Egyptian 
loom 



before their sojourn in Egypt, but it was 
there that they attained the skill which en- 
abled them to execute the hangings in the 
Tabernacle. Joseph's *'coat of many colors" 
is a proof that dyeing existed at a very early 
period, and the eloquent writings of Ezekiel 
tell us of the beautiful colored cloths of Tyre 
and Damascus. 

From the ancient world the art of weav- 
ing passed through Europe and became 
known in England after the Roman con- 
quest. No doubt primitive weaving with 
vegetable fibres, and perhaps with wool, was 
known in a very crude way before that time. 
How the art developed, and how improve- 
ment followed improvement, makes very 
interesting reading for the student of textile 
fabrics. 

We know that weaving is the first indus- 
trial art practised by primitive peoples, from 
the fact that it is found among the savages 
of Central Africa {Park) and the islands of 
the sea. "Clavigero, in his history of Mexico, 
shows that on the conquest of that country, 
weaving was found to be practised by the 
natives." {Ashenhurst.) 

The Egyptians are supposed to have been 
inventors of the loom. There were two 
kinds in use, one horizontal and the other 



THE PRIMITIVE LOOM 



15 



perpendicular. Instead of a shuttle they 
used a stick with a hook at one end, which 
was used also as a batten. Herodotus says 
that it was the practice of the Egyptians to 
push the woof downwards, and this method 
is pictured in many paintings ; bu.t one rep- 
resentation found at Thebes shows a man 
pushing it upwards. The former method is, 
I believe, the one generally used by all 
nations, and it certainly seems the easier 
way. Martin's description of a Hindoo 
loom in his *' Circle of the Mechanical Arts" 
is interesting : '' The loom consists merely 
of two bamboo rollers, one for the warp and 
the other for the web, and a pair of gears. 
The shuttle performs the double office of 
shuttle and batten, and for this purpose is 
made like a huge netting needle, and of a 
length somewhat exceeding the breadth of 
the cloth. This apparatus the weaver carries 
to a tree, under which he digs a hole large 
enough to contain his legs and the lower 
part of the gear. He then stretches his warp 
by fastening his bamboo rollers, at a due dis- 
tance from each other on the turf, by wooden 
pins. The balance of the gear he fastens to 
some convenient branch of the tree over his 
head. Two loops underneath the gear, in 
which he inserts his great toes, serve instead 



Method 

pushing 
the 

ivoof 



Hindoo 
loom 



i6 



HAND-LOOM WE A VING 



Crude 

implements 

used by 

primitive 

peoples 



Patience 

aJid 

dexterity 

necessary 



of treadles, and his long shuttle, which also 
performs the office of batten, draws the weft 
through the warp, and afterwards strikes it 
up close to the web." 

Ashenhurst says : '' It is very evident that 
the implements used, not only by the early 
Egyptians, but by other contemporaneous 
nations, and even by the Hindoos at the 
present time, were of the rudest possible 
character, and nothing but the most exem- 
plary patience, dexterity, and great delicacy 
of hand, acquired by long traditionary habit, 
can account for the extraordinary beauty and 
fineness of their textile productions." This 
exemplary patience, dexterity, and great del- 
icacy of hand is exactly what we claim that 
weaving develops in our children to-day. 

The primitive loom, as it is made for use 
in the public schools, is familiar to almost 
every teacher. It consists of a wooden frame, 
in the two ends of which are fastened brads at 
intervals of half an inch. The warp is strung 
around these brads. There is no variation 
either in the size of the rug or in the width 
of the warp to afford opportunity for differ- 
ent materials. This is a decided objection, 
as a new frame has to be made every time 
a change is desired. The first difficulty 
encountered is the drawing in of the sides of 



Primitive 

loom, in 

the 

public 

schools 



Its 

disadvan- 
tages 



THE PRIMITIVE lOOM 



17 



the rug, which is almost impossible to avoid, 
even with the utmost care. Photographs of 
work in the leading- educational mao-azines, 
as well as samples of teachers' work, all show 
the same defect. The Indians obviate this 
difficult}/- by twisting two stout cords in the 
edge of the woof during the process of 
weaving. (See illustration on page 135.) In 
one school, where the work in this respect 
was fairly well done, the teacher was asked 
hoAv she accomplished the result. Her reply 
was, '' Oh, I make them pull it out every 
time it draws." Poor, patient little fingers! 
One can imagine the thoughts which were 
woven into that imperfect rug by the dis- 
couraged little worker. Another disadvan- 
tage of the primitive loom is that the child 
must bend over it while weaving, and if, by 
chance, he turns it over to examine the other 
side of the work, the brads are apt to leave 
an unsightly impression on the desk. 

One of Froebel's fundamental principles 
is that a child should never be allozved to fail 
— that his work should be so adapted that he 
will succeed every time, and that he should be 
led step by step as his power grows, to some- 
thing more difficult. 

" One thing is forever good, 
That one thing is success," 



Success 

in 

doi7ig 



i8 



HAND-LOOM WE A VING 



We have all experienced the joy of success 
in one way and another. Let lis help the 
children to have the same experience. 

The idea of the ''new education" is that 
the child should work out his own salvation 
— ^that having wrestled with the difficulties 
involved in weaving- on the primitive loom, 
he should proceed not only to invent, but to 
construct a newer and more improved loom. 
In model schools, where the classes are limited 
to ten, or sometimes fewer children, with one 
teacher and several assistants, this idea, if 
carried out, is ideal, and perhaps practical. 
But what shall be said of the public-school 
teacher who has fifty children and no assist- 
ants ; or, which is even more objectionable, 
and which is the case in many of our crowded 
schools, what of the teacher with two sessions 
of fifty children each? It was the effort 
to solve a problem of this kind that led to 
the invention of the Todd adjustable hand 
loom. 

The full size of the loom is lox 13 inches, 
upon which a rug 9x12 inches can be woven. 
It is made adjustable to innumerable smaller 
square and oblong sizes, by two devices. To 
regulate the length, the head piece, which 
is movable, can be let down on brass but- 
tons, which are disposed along the sides at 



THE PRIMITIVE LOOM 



19 




intervals of an inch. 
Perforations are 
placed half an inch 
apart in the head and 
foot pieces so that the 
side rods can be moved 
inward to res^ulate the 
width. They also in- 
sure straight edges, 
since the woof threads 
are passed around ; 
them as the work pro- ^ 
gresses. The rods also 

serve another important function as fulcrums 
upon which the needle may be pressed up 
and down, so that it passes more easily over 
and under the successive warp strings. The 
notches are one-sixteenth inch and the teeth 
one-eighth inch apart, giving opportunity 
for warp one-half, three-eighths, and three- 
sixteenths inches wide. The loom has an 
easel support, so that the pupil need not 
bend over it — an important consideration 
in school classes, and in home work as well. 
This support makes it possible to use the 
loom for an easel in the painting lessons, by 
resting a piece of pasteboard against it. The 
needle, which is longer than the warp is wide, 
serves also as a heddle in pressing the woof 



TIu Todd 
adjustable 
hand loom^ 
Style b 



The 
needle 



20 



HAND-LOOM WEAVING 



Pinis/i/iiQ- 
the zvork 



The Todd 

adjustable 

hand loom^ 

Style a 



threads together evenly. It is furnished with 
an eye for worsted, chenille, carpet ravelings, 
or rope silk, and three slits for rags. To 
thread the needle with rags, pass the strip up 
and down through the slits and back again 
under the strip through the first slit. This 
binds the strip securely. In finishing the 
work weave the last few woof threads with a 

large tape needle, put- 
ting it tip and down, 
over one thread at a 
time, as you would 
sew on canvas. It has 
been found desirable 
with children to push 
about an inch of woof 
threads close to the 
head piece and then 
fill in the space. Care 
should be taken not 
to pull the woof too 
tight. If these directions are followed and 
the warp is strung correctly the strings will 
not slip out of the notches. In adjusting the 
loom it will be found that the width from 
rod to rod is a little more than is required. 
For instance, for a rug nine inches wide, 
the width from rod to rod will be about nine 
and one-half inches. This is to allow for the 




THE PRIMITIVE LOOM 



21 



together when the work is fin- 
ished. To remove it from the loom, pull 
the rods gently upward and out. Then lift 
the warp strings out of the notches. 

The primitive loom can be used by follow- 
ing these same directions, but the work will, 
of course, be limited. 

While a great deal of the work is intended 
for the schoolroom, many suggestions are 



given for home weaving, in making various 
articles for birthday and holiday gifts. 



Removing 
the 

W07-k 



Use of 

the 

primitive 

100711 



For school 
and 
home ivork 



22 



HAND-LOOM WEA VING 



Weaving 
defined 



Weaving 

trains 

both hands 



The 
threefold 
develop- 
ment 



A CHAT ON WEAVING 

Ay^EAVING is the art of interlacing 
threads, yarns, filaments, or strips of 
different material, so as to form a cloth or 
fabric. It is an ideal occupation, not only 
for little children, but for older ones as well, 
affording admirable opportunities for the 
development of head, hand, and heart. It 
trains both hands in deftness and proves a 
delight to the left-handed child, who for the 
joy of using his left hand again, will plod 
patiently across with the right. The fat little 
hands soon learn to grasp the large needle, 
and the nerves and muscles of both hand and 
arm are strengthened by daily use. Both 
hand and eye are trained in accuracy, and 
the training in patience, perseverance, indus- 
try, economy in the use of materials, percep- 
tion, concentration, dexterity, and self-reli- 
ance cannot be overestimated. The heart, 
too, has its part in the joy of giving to others, 
for the children are encouraged to make 
little gifts for the home. A consciousness 
of power comes, also, with experience ; and a 



A CHA T ON WE A VING 



23 



sense of self-respect arises Avhen the child 
realizes that he is of some use in the world. 

Lois Bates, in her "Kindergarten Guide," 
says that ''in the manufacturing districts of 
England great numbers of the children who 
pass through the elementary schools are em- 
ployed in mills where weaving is carried on, 
or enter textile schools to learn desio:ninof 
in cloth. If this occupation of mat-weaving 
could be continued until the children had a 
thorough knowledge of its principles, how 
much intelligence might be brought to bear 
on the actual weaving and how much more 
pleasure might the worker draw from labor 
that is often looked upon as so much me- 
chanical drudgery!" The keynote for this 
is the tJiorougJi knowledge which is necessary, 
whether or not our children are to enter 
textile schools. Whatever they do, let them 
do it thoroughly. It should always be a 
question of quality, not quantity. 

For this reason I have taken up, quite at 
length, the subject of first steps in weaving, 
believing that children should be kept at 
simple weaAdng until they understand the 
principles thoroughly. The felt and paper 
mats prepare the way for loom-weaving; the 
free paper weaving, and the slats and splints 
for basketry. A few suggestions on the use 



Knoiv ledge 
of 

principles 
necessary 



Siinple 
weaviJig- 
the first 
essential 



Mats as a 
prepara- 
tio7i for 
loom 
iveaving 



H 



HAND-LOOM WEAVING 



Slat 
interlac- 
ing and 
splint 
ivork lead 
to 
basketry 



'■Devoted- 
ness to 
duty " 



of the slats and splints have been given for 
two reasons: First, for the training which 
they afford in dexterity and great delicacy of 
touch, to say nothing of exemplary patience ; 
and second, because the preliminary training 
for basketry should be given in the lower 
primary grades. The time necessary to train 
clumsy fingers can hardly be taken from the 
regular work in grades where basketry is a 
prescribed course. 

" Skill in the fundamental methods of 
weaving is essential even as the fingers must 
be trained in music before the soul of the 
musician can find its expression. Make good 
baskets first, simple in shape, strong in tex- 
ture, suited to the purpose for which they 
are intended ; unconsciously they will grow 
beautiful. The most intricate basket will 
fail in its purpose if the joinings are careless 
or flaws in workmanship permitted. If 
originality is within the weaver, it will find 
its expression, once the principles of weaving 
are second nature." (C. S. Coles.) This is also 
true of rug and mat weaving, for the aim of 
all training should be to bring out the best 
there is in a child. 

" The longer on this earth we live 

And weigh the various qualities of men, 

The more we feel the high, stern-featured beauty 

Of plain devotedness to duty; 



A CHA T ON WE A VING 



25 



Steadfast and still, nor paid with mortal praise, 

But finding amplest recompense 

For life's ungarlanded expense 

In work done squarely and unwasted days." 

—James Russell Lowell. 

The " Kraus-Boelte Guide " has some good 
suggestions with regard to the value of paper 
mat weaving, in number training, and for 
following certain formulae which will lead 
ultimately to invention. Mme. Kraus-Boelte 
says : " Weaving leads to independent effort 
and offers the greatest scope for future tech- 
nical work, for it lays the foundation for 
designing. Even though it may not fan 
into flame a latent spark of genius, this 
means of occupation at least tends to show 
the value of honest labor." The child not 
only recognizes the value in honest labor, 
but his sympathy with all labor is aroused 
through his own efforts and through the 
stories told of weavers in all lands. He 
realizes, also, although in a limited way, the 
interdependence of the whole world. If the 
sun did not shine, and the rain fall, there 
would be no grass. If there were no grass, 
'what would the sheep do ? If the sheep did 
not give any wool, what would the weaver 
do? If the weaver could not weave, what 
would we do for clothes? Little children 
are always delighted to go back to the 



Weaving 
the foun- 
dation for 
designing 



Hoftesi 

W0?'k 

begets 
sympathy 
with labor 



Inter- 
dependence 
in life 



26 



HAND-LOOM WE A VING 



Some 
difficulties 



A bit of 
experience 



One 
solution 



beginning of things. Oh, the joy of looking 
back on one's school days ! As Friedrich 
Richter has truly said, " Recollection is the 
only paradise from which no man can be 
driven." 

One important thought in this whole sub- 
ject is that the work should be so arranged 
as not to add any additional burden to the 
already crowded life of the teacher. It is a 
lamentable fact that we have overcrowded 
rooms, and only one pair of hands to do all 
that has to be done. Perhaps a bit of the 
author's own experience will be of some 
assistance. After looking the subject 
squarely in the face and considering it on 
all sides, the writer came to the conclusion 
that it would be an impossibility to do all 
the work alone. So some helpers were 
called from the pupils of the higher grades, 
and the request met such a hearty response 
that it was wondered why it had not been 
tried before. As it is now arranged the 
older girls come in before school and at 
recess. They wind worsted, correct any 
knitting that may be wrong, start new spools, 
string looms, cut material for rugs, water 
plants, keep the closets where the materials 
are stored in order, and do many other things 
which relieve in a great measure the burden 



A CHA T ON WEA VING 



27 



of detail. When it is possible, the teacher 
should choose girls who have a sister or 
brother in the room, because their interest is 
stronger and more lasting. Of course, some 
training is necessary, but the result compen- 
sates for the trouble. Sometimes the work 
in other grades can be so planned that the 
children can make paper mats, etc., for use 
in the first grade. The beautiful community 
feeling begun in the kindergarten can thus 
be continued in the public school. The time 
will come when boys and girls in the higher 
grades will design patterns for the younger 
children to weave. 

Take plenty of time in the first part of 
the year to teach the children to work well. 
"Time is nothing when pozver is growing." 
There are some children who learn faster 
than others and they are always delighted to 
go about the room and help the slower ones. It 
will sometimes be found that they know just 
how to explain a difficult point — perhaps be- 
cause they have just conquered it themselves. 

No work has been specified as suited to 
any particular grade. It should depend 
entirely upon the children. While, for con- 
venience, courses in industrial training are 
planned, advising certain lines of work 
which experience has proved the best for 



Commu- 
nity 
feeling 
continued 



Nature 
knows no 
hurry 



28 



HAND-LOOM WE A VING 



A child's 
ivork 
should be 
suited to 
his capac- 
ity^ ivith- 
out regai'd 
to grade 



Train the 
individual 



Value of 

hand 

training 



first, second, or third grade, there are in 
every school, certain children who have 
more manual than mental ability. These 
are left behind as the more favored ones are 
promoted, and because a certain course has 
been recommended for that particular grade, 
they must, perforce, do it all over again. 
Instead of bringing out the best in these less 
fortunate ones, and developing and strength- 
ening their minds through the hand by 
offering something not only new and inter- 
esting, but which presents new difficulties to 
conquer, we stunt their growth by giving 
them the same baby work term after term. 
It is time that earnest teachers considered 
this important question. Let us give up 
training the mass and begin to train the 
individiial. Through our interest in them 
they may find their life work. If a child in 
the first grade is prepared to do any indus- 
trial work of a higher grade, no matter how 
dull he may otherwise be, by all means let 
him do it. It is his way of expressing what 
lies within him. Not only will his hand and 
mind be trained thereby, but his heart will 
be filled with the joy that always comes 
through achievement. 

Hand training has been found to be of 
great value in all other work. The children 



A CHA T ON WE A VING 



29 



are brighter, and seem better able to grasp 
an idea. The slow children are also stimu- 
lated, and in doing the simple work well are 
preparing for that which is more difficult. 
Impression and expression should go hand 
in hand. We know nothing of ''the bad 
boy," now that^ve have found something for 
his restless fingers to do. " The habit of 
methodical work is the basis of all ethics." 
In teaching children to do their best, we are 
training citizens. Some one has facetiously 
remarked that, " In the making of a good 
citizen it is necessary to catch your citizen 
early." We cannot get hold of the anarchists, 
but we can get hold of their children, and in 
the training of them to work lies their salva- 
tion. Formation is better than reformation. 
Verily, there is nothing new under the 
sun. We hie ourselves to the summer 
schools, and return laden with new ideas — 
when lo ! it dawns upon us that all we have 
done during the hot days has been to make 
a new application of what Froebel taught 
the world before we were born. So in this 
introduction, an old story has been retold, 
but I hope that it will come with a new 
meaning to my fellow teachers. 



If you 
mould 
develop 
morality 
in a child, 
train Jinn 
to wor/i 



Making 
citizens 



Forma- 
tion, not 
refoj-ma- 
tion 



Neiv appli- 
cations 
for old 
teachings 



30 



HAND-LOOM WE A VING 



i^ViixpX^v ^i)vs^ 



FIRST STEPS IN WEAVING 



I^e/t mats 
and slats 



T^HE principles of weaving are very easily 
learned with, felt mats and slats. One- 
half a yard of felt two yards wide will make 
thirty-six mats six inches square. These are 
very durable, and can be tised year after 
year, if protected from moth during the 
summer. Some prefer leather or oil-cloth 
mats, backed with heavy unbleached muslin, 
but they are more expensive, and not so 
pleasant to work with as the soft wool. The 
slats, which should be at least one-half an inch 
wide, can be obtained at any kindergarten 
supply store. Buy the uncolored slats and 
dye them yourself. Dark green mats, woven 
with deep red slats, are pretty. The slats are 
easier to handle if they are soaked and cut 
the required length, before dyeing. When 
the six-inch mats are cut, allow a three-quar- 
ter-inch margin on all sides. Measure the 
mat for one-half-inch strips, of which there 
will be nine, and mark by snapping a chalked 
string upon the mat,. Double it with chalked 
lines outside and commence to cut from the 



FIRST STEPS IN IVEA VING 



31 



center; then open and finish cutting to the 
margin. It would be better for very little 
children if the strips and slats could be one 
inch wide. In this case the mats Avould, of 
course, be larger, and it might be necessary 
to have the slats made to order. The slats 
should be kept in little bundles containing 
the required number, and secured by rubber 
bands. If one could have plenty of time 
and material it would be a good plan to have 
several sets of mats of different sizes, so that 
the children would not ahvays be confined 
to one number and its combinations in a 
certain set of patterns- — ^in this case, nine — 
but have the pleasure which comes from 
variety. Demonstration cards and diagrams 
for weaving can be obtained at the kinder- 
garten and school-supply stores. An illus- 
tration of an excellent demonstration frame 
can be seen in the "■ Kindergarten Guide," by 
Lois Bates. Sample mats can be woven by 
the older children from the designs in any 
of the "Guides," and given to the smaller 
children to copy. 

When the purpose of these practice mats 
is understood there can be no objection to 
them on the ground that the work is de- 
stroyed by pulling out the slats each time. 



Dei7ion- 
stration 
cards and 
diagrams 



Purpose 
of practice 
mats 



It is not an unusual thine to see in schools, 



32 



HAND-LOOM IV E A VING 



Do not 

deceive the 

child 



Long slat 
weavi7ig 



Paper 
mats 



and even in kindergartens, faithful and con- 
scientious teachers remaining after hours to 
pull out the slats, on the principle, perhaps, 
that what the children do not see will not 
affect their development, and the innocent 
little bundles are given out again on the 
morrow, only to undergo the same experi- 
ence at nio^ht. One wonders sometimes if 
this is possibly within the definition of de- 
ception. " We mount to the summit, round 
by round," and when the children under- 
stand that in doinof the work with the slats 
well, they are only learning how, and that 
each successful attempt brings the delight- 
ful day nearer when they may have a loom 
to work upon, they are perfectly satisfied. 

When the children have learned to weave 
the small mats, further practice can be had 
by weaving long slats into a warp of cord on 
the loom. It is better to conquer the mys- 
tery of '' over and under " in this way than to 
undo the work and wear out the material 
after making a mistake. 

Many teachers prefer to make the prac- 
tice mats of paper because they are cheaper. 
Heavy paper, in desirable colors, can be 
obtained at the wholesale paper houses, and 
for a small sum can be cut in squares of 
any required size. Mats can be made more 



FIRST STEPS IN WEA VING 



33 



durable by pasting them on heavy muslin 
before cutting. In many schools children 
in grades above the entering room prepare 
their own mats by measuring with tablets or 
rulers and then drawing and cutting on the 
lines. When they have learned to do them 
well, let each child make one for the enter- 
ing room. Nothing strengthens the com- 
munity feeling so much in a school as to 
encourage the older pupils to help the 
younger. 
. The mat- weaving, as it is done in the kin- 
dergarten, is very beautiful and fascinating 
work. The mats can be obtained in any size 
and any width of strips at the supply stores. 
The weaving is done with a long steel needle 
which has a spring at one end to hold the 
strip. After preliminary work with the felt 
mats and slats the children find themselves 
able to weave quite independently, particu- 
larly if demonstration cards or sample mats 
are placed before the class. An infinite 
variety of patterns, which later will be useful 
in wool-weaving, can be found in the ''Kin- 
dergarten Guides." In weaving patterns 
having a center, it is better to weave two 
strips at once, pushing one to the top and 
one to the bottom of the mat. The old num- 
bers of the Godey and Peterson magazines 



Mat- 
weaving 
in the 
kinder- 
garten 



34- 



HAND-LOOM WE A VING 



Gifts 



have patterns for Berlin wool and bead work 
which can be used for the paper mats with 
good effect. Mrs. Kate Douglas Wiggin 
(Mrs. Riggs) has some good suggestions for 
invention in weaving, in her '' Republic of 
Childhood " (Occupations). The value of 
weaving in number work is also admirably 
set forth in this book. 

At Christmas time many charming little 
gifts can be made of these mats. Sachet 
cases made of a six or eight inch square, with 
four corners folded to the center, are attract- 
ive. Inclose a square of wadding, in which 
a pinch of heliotrope or white rose perfume 
powder has been hidden, and fasten the cor- 
ners together with a scrap picture of old 
Santa Claus. 

Slat work is useful in learning the funda- 
mental principles of weaving, although this 
work is more closely related to basket than 
to rug-weaving. It is an excellent prepara- 
tion for the free-paper weaving, and is also 
a step toward basket work. 

In interlacing slats the mystery of "over 
and under " is solved and the dependence of 
one slat upon another in making a perfect 
whole is shown in a forcible way, particularly 
when the form falls to pieces in the attempt 
to lift it from the table. Edward Wiebe 



Interlac- 
iiig slats 



FIRST STEPS IN WE A VING 



35 



says in his "Paradise of Childhood": "It was 
the ojie slat Avhich, owing to its dereliction in 
performing its duty, destroyed the figure and 
prevented all the other slats from perform- 
ing theirs." One experience of this kind 
will teach more than a thousand precepts. 
The geometrical forms learned in the sense- 
training lessons can be reproduced with the 
slats and will thus be impressed upon the 
mind during the period of busy work at 
the desk. A series of beautiful designs is 
published by E. Steiger, New York. Many 
designs may be grouped for decoration, and 
single symmetrical figures can be mounted 
upon heavy paper. 

Free-paper weaving requires quite a little 
skill of hand and a great deal of patience 
before the child can achieve a successful 
result. Perhaps a few words regarding it, 
and information about a simple sequence of 
paper patterns, will not be out of place, since 
so many are to-day taking it up. Strips of 
manilla paper forty inches long and one inch 
wide are used. These are cut into strips 
eight inches, sixteen inches, twenty inches, 
and twenty-four inches in length. For the 
first pattern of the sequence take four strips 
eight inches long and double each one. Hold 
two of them side by side in the left hand, so 



Free- 
paper 
iveaving 



Sequence 



36 



HAND-LOOM IV E A VING 



Sequence 
tn paper 
weavi7ig 



that the open ends of the outer strip are at 
the top while those of the other are at the 
bottom. With the right hand inclose the 
first strip in the left hand with one of the 
remaining double strips and pass the ends of 
the latter between the two ends of the second 
strip. Then hold the work in the right hand 




and proceed in the same way with the left 
hand. When both strips are in, draw them 
tight and they will be firmly woven. The 
ends can be cut in any way desired. These 
little forms can be used for bookmarks. They 
are very attractive when made in two tones 
of one color. 

The second pattern of the sequence is 



FIRST STEPS IN WEA VING 



37 



made with sixteen-inch strips. The first 
part is woven like the bookmark. Four 
double strips now project from the square. 
Begin at the bottom and fold back the upper 
one of each of these double strips. As you 
do this you will find that you are weaving 
another square on top of the first one. To 
secure the last strip pass it under the square 
next to it and pull it through. You will now 
have eight single strips, two on each side. 
To form these into points for a star proceed 
as follows : Begin with the right-hand strip 
at the top and number all the strips from 
one to eight. Fold number one back toward 
the right, making at the fold a right-angled 
triangle. Fold the strip down again towards 
you, making another triangle which is folded 
back to the left on the first one. Slip the 
end of the strip under the square next to it 
and cut it off. Proceed in the same way wi th 
three, five, and seven. Then turn the form 
over and fold the strips two, four, six, and 
eight in the same way, cutting off the strips 
when finished. Many of these stars can be 
joined to make mats, baskets, picture frames, 
etc. They are pretty when made of gilt or 
colored paper for Christmas decorations. 

Pattern number three, a bookmark, is 
made like the first, except that eight strips of 



Seque7ice 

weaving 



38 



HAND-LOOM WE A VING 



Sequence 
iveaving 



sixteen-inch length are used and the strips 
woven at right and left are finished as di- 
rected for the mat. Number four is another 
form like this, with the long ends back and 
front slipped through squares to form a 
napkin ring. Number five is a six-inch mat 
made of twelve twenty-inch strips. Weave 
six double strips left and right into two 
strips and then add four to make the square. 
To finish the edge cut off the tuidcr one of 
each double strip, fold the upper one over it 
and then slip it under the square which 
comes next, cutting it off even. Strips of 
felt can be woven in this way for table mats 
or holders. 

The sixth pattern is a pencil holder or 
a basket, as you may wish. It may be round 
or square on the bottom — in the latter case 
the sides are creased to form a square prism. 
Double twelve twenty-four-inch strips, weave 
eight right and left into four; finish one 
long edge for the top of the basket as you 
did the edge for the mat. Bend in the form 
of a ring and slip the ends as you did for the 
napkin ring, cutting them off. To make the 
bottom, crease all the projecting ends in and 
weave together as you did the second part of 
number two only double, and fasten the 
strips on the outside of the basket. This 



FIRST STEPS IN WEA VING 



39 



makes a good waste basket for the doll 
house. With a cover it would make a fine 
hamper for Miss Dolly's clothes. 

This free weaving leads directly to weav- 
ing with splints. These are much thinner 
than slats and can be obtained at the kinder- 
garten supply stores. Many beautiful things 
can be made with splints. They are easily 




dyed at home and many pleasing combina- 
tions of color can be obtained in this way. 
Celluloid strips make beautiful boxes and 
baskets. 

A delightful exercise with the small chil- 
dren is the making of a "Jacob's ladder," or 
"Pussy-cat stairs," as they are often called. 
Fold a forty-inch strip of paper, one inch 
wide, so as to form a right-angle in the 
middle. Or, if a longer ladder be desired. 



Weaving 

ivitli 

splints 



Exa77iple 
of splint 
ivork 



^'•Jacob's 
ladder'^ 



40 



HAND-LOOM WEAVING 



Askirt for 
7vinter 




■^^^Hr / little 
■HBUB y fingers 
will work 
patiently 
a long time to achieve this 
charming result, and much 
skill of hand will be gained 
in the doing. Use colored 
paper for this whenever 
possible. 

The illustrations on this 
and on the following page 
show some fascinating work 
for little hands. The looms 
are made of heavy paste- 
board cut in notches, in inuten 
which the warp of the same ^/ap^ 



place one end of a 
forty-inch strip over 
the end of another one, 
at right angles, and 
fasten with a drop of 
paste. Fold from left 
to right, one strip upon 
the other, until you 
come to the end; then 
pull out, and behold 
the stairs ! The fat and 
clumsy 




FIRST STEPS IN WEA VING 



41 



material as the woof is strung. Care should 
be taken to keep the warp straight, and to 
finish all the edges well. The articles in 
the illustrations were made by first-grade 
children in the Ericcson School, St. Paul, 
Minn. ^^^ 




A sweate?- fo7' the doll 



^2 



HAND-LOOM WE A VING 



Warp of 

three 

widtJis 



Kmder- 

garten 

patterns 



METHODS OF STRINGING WARP 

T^HE adjustable loom can be strung with 
warp of three widths, one-half inch, 
three-eighths inch, and three-sixteenths inch, 
thus giving opportunity for a variety of 
materials. 

For heavy rags, candle wicking, etc., wind 
the warp strings around three teeth in the 
head and foot pieces. This will give a warp 
of one-half inch — that is, one-half inch from 
one string to the other. 

For silk, silkoline, finer rags, carpet ravel- 
ings, double wool, etc., wind the warp strings 
around two teeth, thus making a warp of 
three-eighths inches. 

For double wool, worsted, rope silk, che- 
nille, or raffia, where one wishes to reproduce 
kindergarten designs, as in paper-weaving, 
place the warp strings around one tooth only. 
This makes a close warp of three-sixteenths 
inch, which helps to form the design with 
the woof threads. In this case the warp 
should be of the same material as the woof. 
In kindergarten patterns the woof threads 



METHODS OF STRINGING WARP 



4-3 



determine the color effect. It is better to 
have the children weave the pattern first with 
practice mats and slats, particularly if they 
have never had experience in the kindergar- 
ten. Suggestions for weaving kindergarten 
designs are given under the head of Raffia. 

For a plaid effect, string the warp at reg- 
ular intervals, with different colors. Then 
weave the same colors at equal intervals to 
form the plaid. (See illustrations, pages 92, 
98, and loi.) Shawls, carriage blankets, etc., 
woven in this way are very attractive. 

A striped warp is strung in the same way. 
(See illustrations, pages loi and 117.) The 
stripes could be continued through the mat, 
if desired, by weaving only one color in the 
woof. By weaving tzvo colors squares are 
obtained such as those seen in the corners. 

For weaving with carpet ravelings or 
rags, and sometimes double wool, where a 
plain effect is desired, the warp should be of 
common twine, as near the color of the work 
as possible. Carpet thread is good, especially 
for the double warp in Turkish rugs. Balls 
of warp string can be obtained at department 
stores. Oriental cord comes in several col- 
ors, and can be had at a few cents a ball at 
the notion and stationery counters in depart- 
ment stores. 



Plaids 



Stripes 



Materials 
for warp 



u 



HAND-LOOM WE A VING 



How to 
sti-ing a 

warp 



Splicing 

with a 

weaver' s 

knot 



The warp should always be one continu- 
ous string, and several inches should be left 
at each end in order to fasten securely when 
the work is finished. If preferred, the warp 
ends can be fastened before the weaving is 
commenced. Care should be taken to place 
the first and last strings of the warp directly 
oi>er the rods, and, in weaving, to pass the 
woof threads entirely around the 7'ods and 
strings to insure straight edges. The ends of 
wool warp threads should be wound in and 
out of the notches to the riofht and left of 
rods, to fasten them until the weaving is 
finished. It sometimes happens that little 
children, and more especially those who are 
blind, pull up the warp strings when near the 
end of the work. In such cases it is a good 
plan to pass a rubber band over the warp 
strings at the top of the loom and behind the 
bars, back of the head piece, making it set up 
close by putting it around one tooth at each 
end. In this way the warp strings cannot 
possibly slip out of the notches. 

Some teachers splice the warp with a 
weaver's knot, an illustration of which can be 
seen in any large dictionary. The continu- 
ous string is to be preferred, however, as 
experience has proved that even a weaver's 
knot will sometimes fail to stand the stress 



METHODS OF STRINGING WARP 



4-5 



of weaving-. It is very difficult to splice a 
warp of raffia. It is better to knot the warp 
threads in pairs (see directions, page 46), leav- 
ing two or three inches beyond the head and 
foot. These ends may be used for a fringe by 
tearing- very fine, or they may be run down 
in the woven part v/ith a darning needle, as 
rattan is run down in basket work. 

When the weaving is done and the mat 
lifted from the loom, the ends of the wool 
warp strings can be run in along the sides 
with a tape needle. If the warp be of tAvine, 
it is better to tie the end to the next warp 
string and alloAv the fringe to cover the 
knot , or, as in the case of silkoline, the Avoof 
strips can be caught over the AA^arp strings 
with silk of the same color in order to hide 
them. Only experience can teach the tight- 
ness Avith which a warp should be strung. 
Worsted, carpet thread and tAvine will stretch 
as the work progresses, and raffia will not. 
If the warp be too loose the Avork will be 
uneven and the strings aaHII slip out of the 
notches. If it be too tight it will be difficult 
to finish the last two or three inches and the 
woof threads will look crowded. The best 
test is to place the hand upon the warp 
before commencing to weave. If it feels 
firm and does not push down too easily, but 



A raffia 

ivarp 



To fasten 
ivool or 
silk iva?-p 
strings 



When 
the warp 
is correct 



^6 



HAND- LOOM WE A VING 



To string 

a ivarp for 

fringe 



To string 

the warp 

threads in 

fairs 



Springs slightly beneath the hand, it is prob- 
ably correct. 

Where the warp is of the same material 
as the woof and it is desired to extend it to 
form a fringe, it can be done in the follow- 
ing manner: After the loom is adjusted for 
the size required, cut the warp strings so as 
to allow two or three inches beyond the 
head and foot pieces. If you intend to knot 
the fringe in some fanciful way after the 
weaving is finished, allow four or five inches. 
Take two threads, knot so as to leave the 
required length for fringe below the foot 
piece, then pass around one or two teeth, as 
the case may be, draw tightly to the head 
piece and knot firmly on the upper side, leav- 
ing a fringe of the same length there. Knot 
the strings in pairs in this way until the 
whole warp is strung. It will be noticed 
that the rods are placed beneath the notches 
of odd numbers. In knotting warp strings 
in pairs it will be found necessary, when the 
last tooth is reached, to do one of two things 
— either allow one string to lie beyond the 
rod, or, having strung the warp within one 
tooth of the rod, to start the next string in 
the same notch, bringing the two strings 
together. This will bring one string on top 
of the rod and none beyond. In the first 



METHODS OF STRINGING WARP 



47 



case, the string beyond the rod must be 
taken up in weaving with the one on top of 
the rod. Experience has proved the second 
method to be the better one. 

Kiz-Kilim rugs have perforated or open- 
work patterns. To produce this effect string 
a double warp through every notch in the foot 
and head pieces; that is, use two strings in 
each notch, tying in pairs 
for fringe as before. Use 
a brownish white carpet 
thread. With strong black 
thread string through 
every other notch to out- 
line perpendicular sides 
of squares in the pattern. 
Your warp will be strung 
three-sixteenths inch, but the black threads 
will be three-eighths inch. This will enable 
you to keep the patterns straight as the 
work progresses. 

In drawing designs for Turkish rugs, 
where the pattern is to be placed under the 
warp, it is better to make a squared paper 
first. Lay the head piece of the loom upon 
unlined paper. Place a dot at every other 
notch. Draw perpendicular lines first, then 
dot for horizontal lines. The result will be 
a foundation to fit your loom. If the squared 



Double 
warp for 
Turkish 
rugs, etc., 
zvith 
fringe 



A Kiz- 
Kiliin rug 
pattern 



Patterns 
for 

Turkish 
rugs 



48 



HAND-LOOM WE A VING 



Patterns 

for Navajo 
blankets 



paper of the kindergarten be used the 
squares will be either too large or too small 
to correspond with the notches in the loom. 
It will be found very easy to transfer a 
pattern from a rug to the paper. Fasten the 
pattern under the warp by overhanding to 
the rods, taking care to have the black 
strings directly over the perpendicular lines 
in the pattern. 

Patterns for Navajo blankets are usually 
triangular. Draw on unlined paper and 
fasten under the warp as before. 

Rugs and similar articles may be made of 
any length by stringing a continuous warp. 
After the length has been decided upon, cut 
the warp strings twice as long. Place the 
middle of one string around the first tooth of 
the foot piece (or two or three, according to 
the width of warp desired) and bring up the 
two ends firmly to the first tooth in the head 
piece. Knot securely and let the long ends 
extend beyond the head piece. If desired 
they can be wound on spools, or around the 
tops of the rods, to prevent tangling. Con- 
tinue until all the warp is strung. Observe 
the instructions given before for stringing 
warp strings in pairs. It is not necessary to 
weave the loom full each time, as the last 
inch is very slow work, but when the weav- 



To string 
a continu- 
ous warp 
for long 
strips 



METHODS OF STRINGING WARP 



49 



Methods 
of fasten- 
ing long 
strips 
together 



ing is near the head piece draw out the rods, 
Mft it from the notches, pass it down to the 
foot piece so that the part Avhich was at the 
head is now at the foot, untie the knots so 
that the work will lie close to the foot piece 
and knot the warp strings as before at the 
head piece. This can be done as many times 
as desired. 

For afo^hans, slumber robes, couch covers, 
etc., crochet with plain stitch or baste on oil- 
cloth and weave together Avith tape needle, 
making it as nearly like the original weaving 
as possible. By studying Turkish rugs and 
curtains one can learn how to put strips 
together Avith a fancy stitch somcAAdiat like 
our feather stitch. 

Strips for floor rugs should be basted on 
oil-cloth and the AA^arp strings in the tAvo 
edges caught together at intervals, running 
the connecting thread through the loops so as 
to be invisible. Finish the outside edges by 
stitching on a tape of the same color, by 
machine. 

By making several of these long strips 
and fastening them together one can have a 
table cover, afghan, slumber robe, or a large 
rug. 

The floor rug shoAvn in the illustration on 
page \QO {\y^ yards by ^ yard) is woven in 

4 



Table 
covers^ 
afghans^ 
slu7nber 
robes, or 
large 7-ugs 



so 



HAND-LOOM WEA VING 



Floor rugs 



Fine 

weaving 



To 

■produce 

a desigji 

with the 

woof 



Warp for 
doll towels 



strips with a continuous warp. The center 
strip is one yard long and nine inches wide. 
It is made of deep cardinal carpet wool. The 
strips of black, nine inches wide at the sides 
and ends, terminate diagonally, as seen in 
the illustration. The black diagonal lines 
show where the weaving ends. The warp 
is then tied and cut close to the weaving. 
The strips are to be sewn or crocheted 
together. 

For very fine weaving, where it is neces- 
sary for the warp threads to touch each other 
in order to produce a design with the woof, 
string a double warp in every notch with the 
same material. Then, with a tape needle, 
separate the warp threads, twist one over 
the other so that all will lie side by side, and 
secure them by weaving a few times across 
the loom. By using this method, one can 
have a close warp on the wooden looms. 

In stringing warp in pairs for doll towels, 
have two strings on each bar and one extend- 
ing one notch beyond at each side. This 
makes a good fringe for the edges of the 
towel. 



MATERIALS 



51 



MATERIALS 

pLAIN and figured silkoline should be 
cut in bias strips one-half inch wide. 
Stretch and pull through the hands until 
both edges are raveled. When these strips 
are woven, the rug or mat will be reversible. 
Figured silkolines give a pretty mottled 
effect, especially those in which Turkish 
colors predominate. Rugs having plain cen- 
ters and mottled borders are beautiful. A 
full-sized rug requires nearly two yards of 
material. 

Strips of cheese cloth can be prepared in 
the same way. Cut them three-fourths inch 
wide on account of the tendency to ravel. 
Serviceable face and dish cloths can be made 
of white cheese cloth. Some of the colored 
cheese cloths make pretty rugs. When a 
desirable color cannot be found, the Avhite 
cloth can be dyed at home. 

Soft dress linings come in many beautiful 
colors. Old pieces may be utilized by clean- 
ing and dyeing. The pieces are cut in bias 
strips, one-half inch in width. 



Silkoline 



Cheese 
cloth 



Dress 
lift i Jigs 



52 



HAND-LOOM WE A VING 



Silk 



Candle- 
ivicking 



Rope silk^ 

or 

ropetine 



Pieces of old silk can also be prepared in 
this way. One can often obtain new pieces 
at dressmaking establishments. 

Table mats, wash cloths, and similar arti- 
cles can be made from candle-wicking. For 
lamp mats, cushion covers, and other arti- 
cles the material may be dyed and woven in 
two colors, or in two tones of one color. A 
number of squares can be joined to make 
a hammock pillow. By stringing a close 
warp with white or colored wicking and 
weaving over and under one string with the 
same material, a coarse canvas can be made, 
upon which the children can cross-stitch a 
pretty border and center piece, or an all-over 
pattern by copying the kindergarten designs, 
or even initials and monograms. Most of 
the canvas sold at the stores, even the old 
Java canvas of our childhood days, is too fine 
for little children to work upon. In canvas 
made of candle-wicking by the child himself, 
the squares are large, and to this there is the 
added pleasure of the child being able to 
say when the work is finished, '' I did it all 
myself." 

Beautiful silk canvas can be made of rope 
silk and cross-stitched with another color 
or tone, or with chenille, making a velvet 
figure. This material is, of course, more 



MATERIALS 



53 



expensive. Two colors or two tones may 
be woven with chenille and silk in a kinder- 
garten design. Beautiful holiday and birth- 
day gifts can be made from these materials, 
such as mats, cushion covers, and sachet 
cases. Glove, mouchoir, necktie, fan, and 
trinket boxes can be made by weaving the 
top, bottom, and sides in panels. Founda- 
tion boxes, which may be purchased for a 
few cents, are excellent for this purpose, or 
they can be made very well at home from 
three-ply cardboard. Make the hinges of 
ribbon and line the boxes with silk of a cor- 
responding or contrasting color. 

Carpet ravelings may be obtained from 
the carpet stores, or pieces of carpet can be 
raveled by the children. Let them have the 
pleasure and benefit which come from sort- 
ing the ravelings. It is an excellent lesson 
in color, besides developing the patience, 
concentration, discrimination, and judgment 
so much to be desired in other work. After 
the wool is sorted — not before, because it is 
not all fast color — dip in water, wring, and 
let the children straighten it gently, one 
piece at a time. This will make it as smooth 
and soft as new wool. Procure some small 
boxes — shoe boxes are a good size — place 
one color in a box with a sample fastened 



Carpet 

ravelmgs 



54- 



HAND-LOOM WE A VING 



Carpet 
wools 



Double 
German- 
town wool 



outside at one end, and pile them upon a low 
shelf or window sill. Train the children to 
go to the "play store" to match their own 
wool. If they go quietly, one at a time, no 
one is disturbed and each child gains in 
knowledge of color as well as in independ- 
ence. A little management of this kind 
helps the teacher as well as the child. 

New wools of various kinds and beauti- 
ful colors can be bought in large quantities 
from dealers in materials for industrial work. 
In some carpet departments you will find 
oriental wools which are used to mend rugs, 
and a small quantity can be bought. Some 
of the kindergarten supply stores and deco- 
ration companies have already advertised a 
stock of these materials. 

An ideal material for little folks is double 
Germantown wool. The soft wool, used for 
both warp and woof, is excellent for weaving 
kinderg-arten desio^ns. This should be done 
with a close warp, which may be extended 
each side of the head and foot piece as a 
fringe. By extending the warp any length 
desired beyond the head piece, long strips 
for slumber robes, afghans, and such articles 
can be woven. The warp may be strung 
with twine as near the color of the wool as 
possible, and a plain rug be made, with 



MATERIALS 



55 



colored stripes at each end. A very pretty 
and easy gift for a little child to make is a 
holder for the teapot, as described on page 
92. The Germantown knitting yarn, which 
is more tightly twisted, makes very pretty 
rugs and mats. It is sometimes used for 
Navajo blankets. 

White dolls'-towels, with red or blue 
stripes, are made of darning cotton. Baste a 
small piece of canvas at one end and cross- 
stitch Miss Dolly's initial. 

Plain white bedspreads, or white com- 
bined with a color in a kindergarten design, 
can be made of knitting cotton which is a 
little coarser than darning cotton. Knot a 
fringe on all sides. Lunch cloths and table 
covers for Miss Dolly can be made in the 
same way. 

Macreme cord is the best material for ham- 
mocks. It comes in many beautiful colors, 
at a few cents a ball. 

To weave a kindergarten design in two 
colors of leather strips, have the leather cut 
the desired width, and fasten them to a piece 
of strong muslin at the top and bottom of the 
mat or panel. Fit the muslin over the teeth 
in head and foot pieces by cutting a small 
opening. 

Celluloid strips may be treated in the 



German- 
town 
knittmg 
yarn 



Darnitig 

cotton 



Knitting 
cotton 



Macreme 
cord 



Leather 
strips 



Celluloid 
strips 



56 



HAND-LOOM WE A VING 



Leather 
strips 



Raffia 



Shetland 

wool 



same way. Leather and celluloid strips can 
be woven free-hand like the paper strips. 

Many beautiful articles can be made of 
raffia, which is a palm fibre brought from the 
island of Madagascar. It can be obtained 
in the natural color at most of the depart- 
ment stores, the kindergarten supply houses, 
and the florists. The cost is usually 20 cents 
or 25 cents per pound, although the florists 
will sell a few cents' worth. It can be dyed 
easily, and with little expense, with Diamond 
or aniline dyes. It should first be washed. 
Care should be taken, in the selection, to 
obtain long, smooth pieces which will be at 
least one-half inch wide when wet, and of an 
even color. Some of the raffia is musty and 
badly spotted. It is well to wet all of it 
first, then straighten and allow it to dry. 
While weaving, keep the raffia moist by dip- 
ping the fingers now and then in a cup of 
water. Experience has proved this method 
to be more satisfactory than to allow the raffia 
to remain in water and become thoroughly 
soaked, particularly the colored raffia. If one 
cares to expend money instead of time and 
trouble, the raffia can be dyed in very beau- 
tiful colors at the dye houses. 

Blankets for Miss Dolly can be made of 
the soft Shetland wool and Germantown 



MATERIALS 



57 



zephyr. For bed blankets, cream color, with 
stripes of two or more colors, are very attract- 
ive. Carriage blankets made with white cen- 
ters and colored borders, or with a tone for 
the center and a shade for the border, are a 
great addition to the carriage, as well as a 
source of comfort to the little occupant. 
Bind the edges with ribbon and run a nar- 
row one through the beading formed by tak- 
ing out the extra rods. This ribbon can be 
run all around the center part by leaving out 
a few woof threads at the top and bottom. 

By stringing a close warp of knitting silk 
and extending it the required length, shawl- 
straps, suspenders, belts, and garters can be 
woven. The rods should be adjusted for the 
desired width. Finish at each end with 
pieces of silk elastic of the same color, and 
with buckles. 

Angora wool makes pretty Tam O'Shan- 
ters. Initials can be woven in any article. 

Small books containing cross-stitch de- 
signs can be found at the German and 
French embroidery stores in large cities — 
sometimes, but rarely, at the art counter 
in department stores. The "Kindergarten 
Guides" can be obtained at most public 
libraries, or a kindergartner friend will be 
glad to loan one. 



Knitting 
silk 



Angora 
wool 



Books of 
patterns 



58 



HAND-LOOM WE A VING 



Diamond 
dyes 



Vegetable 
dyes 



Mrs. 

Candace 

Wheeler's 

pamphlet 



DIRECTIONS FOR DYEING 

A FEW hints with regard to dyeing raffia, 
cheese cloth, white cord for hammocks, 
and other materials, may be found useful. 
For raffia use the Diamond dyes which are 
intended for wool or silk. Wash the raffia 
first. The color will be improved by soaking 
the raffia a day in alum water, one-half pound 
to the gallon. Dye once used can be kept 
in an air-tight dish and reheated whenever 
needed. 

Should one be interested in vegetable 
dyes much information can be obtained at 
the public libraries. Dr. Washington Mat- 
thews speaks of Indian dyes in his article on 
the Navajo weavers mentioned in this book. 
"How to Make and How to Mend" also con- 
tains some good suggestions about dyes. 

In her little pamphlet. Home Industries and 
Domestic Weavings, published by the Asso- 
ciated Artists, 115 East 23d Street, New 
York City, Mrs. Candace Wheeler has an 
interesting chapter on " Rag-Carpet Weav- 
ing." Her suggestions for dyeing rags apply 



DIRECTIONS FOR DYEING 



59 



equally to yarns and to other materials which 
may be used on hand looms for children. 
Through her kind permission I am allowed 
to quote the following suggestions : 

"In the early days of this present century 
a dye tub was as much a necessity in every 
house as a spinning-wheel, and the reestab- 
lishment of it in houses where weaving is 
practiced is almost a necessity; in fact, it 
would be of far greater use at present than 
in the days when it was only used to dye the 
wool needed for family knitting and weav- 
ing. All shades of blue, from sky-blue to 
blue-black, can be dyed in the indigo tub; 
and it has the merit of being a cheap as well 
as an almost perfectly fast dye. It could be 
used for dyeing warps as well as fillings, and 
I have before spoken of the difficulty, indeed 
almost impossibility, of procuring indigo- 
dyed carpet yarn. 

'' Blue is, perhaps, more universally useful 
than any other color in rag-rug making, since 
it is safe for both cotton and wool, and covers 
a range from the white rug with blue w^arp, 
the blue rug Avith white warp, through all 
varieties of shade to the dark blue, or clouded 
blue and green rug, also, upon white warp. 
It can also be used in connection with yellow 
or orange, or with copperas or walnut dye, 



Uses of the 
indigo tub 



Blue 
univer- 
sally used 



6o 



HAND-LOOM WEAVING 



Green 



Red 



Copperas 
Dull green 



Domestic 

dyes 



Nut stains 



in different shades of green ; and, in short, 
unless one has exceptional advantages in 
buying rags from woolen mills, I can hardly 
imagine a profitable industry of rag-weaving 
established in any farmhouse without the 
existence of an indigo dyeing tub. 

'' The next important color is red. Fortu- 
nately, red warps can be bought which are 
reasonably fast, but the only way to procure 
red rags in quantity is to dye them, and, 
although the dye is somewhat expensive, 
there are two colors, turkey red and car- 
dinal red, which are extremely good for the 
purpose. Probably these could be bought 
at wholesale from dealers in chemicals and 
dyestuffs at much cheaper rates than by the 
small paper from the druggist or the coun- 
try store. Copperas gives a fast nankeen- 
colored dye, and this is very useful in 
making a dull green by an after dip in the 
indigo tub. 

'* There are some valuable domestic dyes 
which are within the reach of every country 
dweller, the cheapest and best of which is 
walnut or butternut stain. This is made 
by steeping the bark of the tree or the shell 
of the nut until the water is dark with color, 
and setting it with alum. It will give vari- 
ous shades of yellow, brown, dark brown, 



DIRECTIONS FOR DYEING 



6i 



and green brown, according to the strength 
of the decoction or the state of the bark or 
nut when used. If the bark of the nut is 
used when green, the result will be a yellow 
brown; and this stain is also valuable in 
making a green tint when an after dip of 
blue is added. Leaves and tree-bark will 
give a brown with a very green tint, and 
these different shades used in different 
rags woven together give a very agreeably 
clouded effect. Walnut stain will itself set 
or fasten some others; for instance, poke- 
berry stain, which is a lovely crimson, can 
be made reasonably fast by setting it with 
walnut juice. Iron rust is the most indeli- 
ble of all stains, besides being a most agree- 
able yellow, and it is not hard to obtain, as 
bits of old iron left standing in water will 
soon manufacture it. It would be a good 
use for old tin saucepans, and various other 
house utensils which have come to a state of 
mischievousness instead of usefulness. Ink 
gives various shades of gray according to 
its strength, but it would be cheaper to pur- 
chase it in the form of logwood than as ink. 

" There is a strong and well-founded pref- 
erence among art producers in favor of vege- 
table dyes, and yet it is possible to use 



Leaf 
stains 



Iron rust 



Ink stains 



Vegetable 
dyes 



62 



HAND-LOOM WE A VING 



The 

variety of 
shades 



Carding 
and 

twisting 



Blue 



Pink 



Gray 



certain of the aniline colors, especially in 
combination, in safe and satisfactory ways. 

''Everyone who undertakes domestic weav- 
ing must know how to dye one or two good 
colors. Black, of course, and the half-black, 
or gray, which a good colorist of my ac- 
quaintance calls a light black. Indigo blue 
equally, of course, in three shades of very 
dark and light. Here are seven shades. from 
the three dyes, and when we add white we 
see that the weaver is already very well 
equipped with a variety of color. The eight 
shades can be still further enlarged by cloud- 
ing and mixing. The mixing can be done 
in two ways, either by carding two tints 
together before spinning, or by twisting 
them together when spun. 

'' Carding together gives a very much bet- 
ter effect in wool, while twisting together is 
preferable in cotton. 

" Dark blue and white and medium blue 
and white wool carded together will give 
two blue grays which cannot be obtained 
by dyeing, and are most valuable. White 
and red carded together give a lovely pink, 
and any shade of gray can be made by card- 
ing different proportions of black and white 
or half-black and white. A valuable gray 
is made by carding black and white wool 



DIRECTIONS FOR DYEIXG 



63 



together, and by black wool I mean the nat- 
ural black or brownish wool of black sheep. 
Mixing of deeply dyed and white wool to- 
gether in carding is, artistically considered, 
a very valuable process, as it gives a softness 
of color which it is impossible to get in any 
other Avay. Clouding, which is almost an 
indispensable process for rug centers, can 
be done by winding certain portions of the 
skeins or hanks of yarn very tightly and 
closely with twine before they are thrown 
into the dye pot. The winding must be 
close enough to prevent the dye penetrating 
to the yarn. This means, of course, when 
the clouding is to be of white and another 
color. If it is to be two shades of one color, 
as a light and medium blue, the skein is first 
dyed a light blue, and after drying, is wound 
as I have described, and thrown again into 
the dye pot, until the unwound portions 
become the darker blue which we call 
medium." 

Through the courtesy of Mrs. Helen R. 
Albee, who has done much to revive an inter- 
est in rug-weaving, I am allowed to quote 
the following detailed suggestions on the 
subject of dyeing from her helpful manual, 
Abndkee Rugs. This little manual treats 
fully of the "Abnakee Rug Industry," the 



Clouding 



Mrs. 
Albee's 
7nan iial 



H 



HAND-LOOM WE A VING 



Combina- 
tions of 
color 



'' Materials," " Methods of Work," and "Dye 
Formulas." It was issue 1 through the River- 
side Press in 1901. 

Speaking of combinations of color, Mrs. 
Albee says : 

''A careful study of the effects of colors 
upon each other will show that colors which 
are in themselves beautiful are often inhar- 
monious when combined. Also, a little of 
a color may be good, when a larger propor- 
tion seems to destroy the balance or har- 
mony. Success in this matter is largely a 
matter of close observation and experience, 
although some persons have a natural feel- 
ing or instinct regarding color which is sel- 
dom in error. Strong colors should never 
be used, especially greens. Though they 
may be modest in the piece, when worked 
in with other colors, they have an unfortu- 
nate way of becoming intensified tenfold. 
The safest tones for an amateur to deal 
with are dull gray green, yellow green, and 
a soft, full, but dark olive. In striking a 
certain key in color it should be maintained 
throughout. Thus, if a full rich color pre- 
dominates, rich dark colors should be used 
through the whole scheme. If a light tone 
is the body color, soft light tones of other 
colors will be found most harmonious. 



Safe tones 



DIRECTIONS FOR DYEING 



65 



Thus, for example, a rug for a library, or a 
hall, in which a good deal of rich terra cotta 
appears, should have a border or design 
worked in dark blues, full shades of olive 
green, and dull yellow. There is an appar- 
ent exception to this in the use of dull reds, 
old ivory, and black as seen in Bokhara rugs. 
But if studied, the cream color is very dull, 
and is used in such small quantities as to 
be quite subdued by the black that is used 
freely in the pattern. Old rose, warm golden 
browns, and olive may be used effectively. 
A light Gobelin blue may be worked with 
ivory, old pink, light dull olive, and the out- 
lines can be either a dark yellow brown or 
very dark bronze green. An ivory center 
is lovely with an old pink border worked in 
green. A tan center may be combined with 
old rose, sage green, bronze green, light 
yellow, cream color, and dark brown out- 
lines. Indigo blue, forest green, and dull 
yellow are excellent colors when combined. 
A great variety of beautiful rugs may be 
made by using only blue and white, and 
unless one wishes to go extensively into 
dyeing, it might be well to choose a certain 
simple color scheme such as blue and white, 
red, black, and ivory, and abide by it. Let 
it be remembered that white in rugs is not 



Colors t'n 
rugs 



Use of 
ivhite 



66 



HAND-LOOM WEAVING 



Planning 

a color 

schetnefor 

a rug 



white, neither is it a delicate cream. Unless 
it is decidedly yellowish or even grayish in 
tone, when in combination with other colors, 
it becomes a staring white that is anything 
but artistic. I dye my cream colors, just as 
much as I do dark reds or greens. 

'' I have been asked many times what is 
the best way to plan a color scheme for a 
rug. This is a point I cannot determine for 
another. Some may find help in making 
water color sketches of what they wish to 
do. In my own work I never use them, as 
it requires making a reduced drawing of 
great accuracy, and much time to color it. 
Often I plan a combination mentally, and 
match it up from the dyed flannels I always 
have on hand. Other times I vary the 
scheme of some rug I have already made, 
experimenting with different combinations, 
using other rugs as if they were books of 
reference. I have discovered one rather 
curious thing, which is, that when all my 
experimenting is done I find some particu- 
lar color scheme fits a certain rug as no other 
does. It seems to clothe or to fulfill the 
pattern as if it belonged personally to it. 
When I once discover this elective affinity 
of a pattern for its special coloring, I never 
make it again save in that one guise. 



DIRECTIONS FOR DYEING 



67 



" Much skill can be shown by an artistic 
worker in the use of slight shades of differ- 
ence in the same color. For example, in the 
plain center of a rug, several tones repre- 
senting shades of the same color will give 
the effect of a play of light on a silky sur- 
face, which is very beautiful. By using 
material that has been dyed a trifle darker 
at one end of the rug, and working in grad- 
ually lighter tones, the result is surprisingly 
effective. To do this, each three or four 
yards should be dyed with these slight dif- 
ferences of tone ; then when within thirty 
strips of the end of one color (more or less, 
according to the width of the rug), work in 
a broken line of the next tone all across the 
rug. Then use a few rows (not worked in 
single rows, however) of the first color across 
the entire rug, then a wider broken line of 
the second color. Broken lines blend better 
than continuous lines do. The portions of 
the second line should fall above the broken 
spaces left in the first line (in the same way 
that masons lay bricks), then a little more 
of the first color, using less and less of it, 
and increasing the width of the second in 
masses, until the first color has become only 
broken lines upon the ground of the second 
color. All the way through, any changes of 



Shading 



Directions 

for 

shading 



68 



HAND-LOOM WE A VING 



Coloring- 



Dye kettles 



Mordants 



color should be merged in this way. Be 
sure to work this method from side to side 
across the rug, as the frameful is filled. 

'' This is the most difficult feature of the 
whole handicraft, the actual coloring, and 
yet for fine effects I should recommend only 
the use of hand-dyed materials. Goods dyed 
by professional dyers are perfectly uniform 
in color throughout, and rugs made of such 
material will have nothing of that difference 
of tone, that play of color, that is absolutely 
necessary for beauty. 

"In dyeing use only brass, copper, granite, 
or porcelain kettles, unless one goes into it 
on a large scale and uses regular machinery. 
Brass and copper vessels are to be preferred, 
while iron, or tin showing iron, are to be 
carefully avoided, as the mordants have a 
great affinity for iron and ruin the color. I 
use a large brass kettle holding about five 
gallons. 

''For mordants I use Glauber salts and 
sulphuric acid, and with the weight of cloth 
I use, it takes 3 oz. of Glauber salts and Y^ oz. 
of sulphuric acid (full strength) to each six 
yards of flannel. I use a one-ounce Phenix 
graduate (American standard) measuring 
glass, and as full strength sulphuric acid 
has about twice the specific gravity of water, 



DIRECTIONS FOR DYEING 



69 



one slioulcl measure by the scale engraved 
on the right-hand side of the glass. The 
left-hand scale is based upon the standard 
unit of weight, which is water. 

"In using sulphuric acid I dilute it in a 
little cold water in a cup by pouring the 
acid on to the w^ater, as sulphuric acid in 
uniting with water causes a chemical reac- 
tion. Where a large quantity of acid is 
used this reaction is accompanied by a sud- 
den burst of steam, if the water falls upon 
the acid. But in a small quantity as this, 
there is no possible danger of accident if the 
acid is poured on the water. • Sulphuric acid 
should be closely stoppered and used with 
care, as it is corrosive, eating holes in cotton 
or linen fabrics. With ordinary precautions 
it can be used without the least difficulty. 

"Glauber salts are too well known in com- 
merce to need description, and are used to 
neutralize the acid. The two in combina- 
tion do not injure woolen fabrics, but merely 
set the dyes. 

"In preparing the dye bath allow three 
gallons of water, and ^ oz. of sulphuric acid; 
stir thoroughly and add 3 oz. Glauber salts 
to six yards of cloth. Then add the dyestuff 
in required proportions. Stir thoroughly as 
each ingredient is added, for the evenness 



Uses of 
acids 



Salts set 
the dyes 



Prepara- 
tion of a 
dye bath 



70 



HAND-LOOM WEAVING 



Coloring 
depends on 
tempera- 
ture 



of the dye depends upon the thorough dis- 
tribution of the mordants and color in the 
dye bath. Generally it is advised to strain 
the dye before it is added, but, as an even 
tone is not the desired result for this special 
handicraft, I never follow this suggestion. 

''The proper temperature for introducing 
the color in the bath is not over 150° F., but 
if one has not a bath thermometer, the tem- 
perature must be very hot, yet far below 
boiling point. Temperature plays a great 
part in dyeing, for if the dye bath is too hot 
when the cloth is introduced, the dye, hav- 
ing a great avidity for wool, will be absorbed 
unequally by the cloth, the ends and outside 
folds of the cloth absorbing more color than 
is desired, and the inner folds will have less. 
I am not discussing the process of dyeing 
as it should be done on a large scale with 
vats and suitable reels, etc., but as it is likely 
to be done by an amateur, in a small way. 
When the bath is too hot, the cloth takes 
the dye unequally and is quite spotted. A 
little irregularity is necessary for a play of 
color, but it should be secured m a definite 
way and only to a certain degree, and not 
as the result of accident. If the cloth has 
come out spotty, it may be redipped, having 
added more dye and mordants to the bath, 



DIRECTIONS FOR DYEING 



71 



Process of 
dyeing 
yarfi or 
raffia 



but it will come out a darker shade. If the 
bath is anywhere near the boiling point 
before the cloth is dipped, reduce it by add- 
ing a quart or two of cold water." 

Before dyeing yarn or rafha, bind the 
skeins loosely in several places to prevent 
tangling. '' Haying prepared the bath, gather 
the cloth in the right hand at half a dozen 
places along one selvedge, and drop it in, 
spreading it at once, using two stout sticks, 
lifting it up and down continually so as to 
expose all parts to the dye. The tempera- 
ture should be increased to the boiling point 
and continued for three-quarters of an hour. 
Then lift the cloth up and drain it, then 
rinse in cold water, wring dry, but do not 
press with an iron, as the soft wooly texture 
is very desirable. When a quantity of the 
same color is desired, the same water can be 
used again by adding acid and Glauber salts, 
together with more dyestuff with each fresh 
dip of cloth. It must be stated, however, 
that the color will not be so clear with suc- 
ceeding dips, but that does not matter, as a 
difference is desired. The process of dyeing 
is very delicate, and the utmost precision 
must be observed in following proportions 
and directions regarding temperature, etc. 
Dyeing is more successful in clear weather 



HAND-LOOM WEAVING 



Clear days 

are best for 

dyeing 



Vegetable 

dyes and 

chemical 

dyes 

compared 



than on rainy days, and soft water is required 
to get good results. If water contains much 
lime or earthy salts it is unfit for dyeing, 
and must be neutralized by acetic acid. In 
such cases it would be still better to use 
rain water. 

'' There is a curious conviction prevailing 
in some quarters that beautiful durable colors 
are obtainable only from vegetable dyes. My 
first experiments were with barks, mosses, 
etc., but the difficulty of getting them, the 
enormous amount necessary to dye any quan- 
tity of goods, the tedious process in their 
use, and the fact that after all only a narrow 
range of colors is obtainable from them, 
compelled me to abandon them altogether. 
I began to investigate chemical dyes, and to 
gain information I applied to one of the 
largest woolen mills in New England, one 
which maintains a high reputation for the 
class of goods it manufactures; also to two 
wholesale houses dealing in all kinds of 
dyestuffs; and finally to one of the best 
experts in color in the country. Their 
verdict was unanimous, and is summed up 
in the opinion of the expert which he ex- 
pressed in a letter to me on this question : 

'' ' In regard to the use of vegetable dyes, I 
would say that they have almost disappeared 



DIRECTIONS FOR DYEING 



73 



from commerce, certainly for the purpose of 
dyeing fabrics. 

"'We know, of course, that there are 
strong prejudices still existing in the lay- 
man's mind in regard to the use of aniline 
colors, who supposes that they are not only 
fugitive, but that the resulting tones are 
harsh and unattractive. This, unfortunately, 
was so twenty-five years ago, and the impres- 
sion made then upon the layman's mind has 
not been changed during all these years ; 
but I can assure you that all the beautiful 
silk goods, tapestries, cloths, and all the 
colors which we see in fabrics to-day, are 
made, without exception, from aniline col- 
ors, which are immeasurably more perma- 
nent than are the vegetable dyes used up to, 
say, 1875.' 

"In using my range of eight colors I pro- 
vide myself with large, strong glass bottles 
in which I keep my diluted colors. I use a 
pint measure for diluting the dyes. In pre- 
paring the fluid I put one half or one quar- 
ter of an ounce of dry color, whichever 
amount the formula calls for, into the pint 
measure and mix it thoroughly with a little 
cold water. The reason for using cold water 
is that the dyes are a tar product, and if 
mixed with hot water first, they are apt to 



Aniline 
colors 



Formulas 
to be 
followed 



74- 



HAND-LOOM WEA VING 



grow waxy under the heat and not dissolve 
readily. Having dissolved them, I fill tip 
the measure with hot water, stirring all the 
time. This makes a pint of liquid which is 
of uniform strength under all circumstances, 
and every formula is based upon this invari- 
able pint measure of water. These formulas 
I have tried over and over again. They are 
made with special reference to the grade of 
flannel I have adopted, and doubtless will 
vary in results if used on other weights or 
weaves of wool goods." 



Dark 
terra cot fa 



DYE FORMULAS 
NO. I. DARK TERRA COTTA 

Dissolve ^ oz. of dull red in i pint of 
water. 

Dissolve % oz. of green in i pint of water. 

Take full pint measure of dull red dye 
and 4 tablespoonfuls of green dye to 6 yds. 
of cloth. 

Mordants : ^ oz. sulphuric acid and 3 oz. 
Glauber salts. Boil ^ of an hour. 



Full 
terra cotta 



NO. 2. FULL TERRA COTTA 

Dissolve i^ OZ. of dull red in i pint of 
water. 

Use full pint measure of dull red dye to 6 
yds. of cloth. 



DIRECTIONS FOR DYEING 


75 


Mordants : y^ oz. sulphuric acid and 3 oz. 




Glauber salts. 




NO. 3, LIGHTER TERRA COTTA 




Dissolve ^ oz. of dull red in i pint of 
water. 


Light 67- 
terra cotta 


Use 22 tablespoonfuls of dull red dye to 
6 yds. of clotli. 




Mordants : 3^ oz. sulphuric acid and 3 oz. 




Glauber salts. 




NO. 4. RICH OLD RED 




Dissolve Yz oz. of dull red in i pint of 


Rich old 
red 


water. 




Dissolve y^ oz. of green in i pint of water. 
Use 24 tablespoonfuls of dull red dye and 




3 tablespoonfuls of green dye to 6 yds. of 
cloth. 




Mordants: Same as No. i. 




NO. 5. DULL OLD ROSE 




Dissolve y^ oz. of dull red in i pint of 


Dull old 
rose 


water. 




Dissolve y^ oz. of bright blue in i pint of 




water. 

Dissolve y^ oz. of dull yellow in i pint of 




WdLCi . 

Use 16 tablespoonfuls of dull red dye, and 
I tablespoonful of bright blue dye, and 3 





76 



HAND-LOOM WEA VING 



Old pink 



Full 

yellow 



tablespoonfuls of dull yellow dye to 6 yds. 
of cloth. 

Mordants: Same as in No. i. 

NO. 6. OLD PINK 

Dissolve y^ oz. of dull red in i pint of 
water. 

Dissolve y^ oz. of dull yellow in i pint of 
water. 

Dissolve I oz. of dark blue in i pint of 
water. 

Use 6 tablespoonfuls of dull red dye, and 
3 tablespoonfuls of dull yellow dye, and i ^ 
teaspoonfuls of dark blue dye to 6 yds. of 
cloth. 

Mordants : Same as in No. i . 

NO. 7. FULL YELLOW 

Dissolve y^ oz. of bright yellow in i pint 
of water. 

Dissolve y^ oz. of dull yellow in i pint of 
water. 

Dissolve y^ oz. of green in i pint of water. 

Use 6 tablespoonfuls of bright yellow dye, 
and 5 tablespoonfuls of dull yellow dye, and 
2 tablespoonfuls of green dye to 6 yds. of 
cloth. 

Mordants: Same as in No. i. 



DIRECTIONS FOR DYEING 



77 



NO. 8. RICH DULL YELLOW 

Dissolve y^ oz. of bright yellow in i pint 
of water. 

Dissolve Yj^ oz. of dull red in i pint of 
water. 

Use 12 tablespoonftils of yellow dye and 
6 tablespoonfuls of dull red dye to 6 yds. of 
cloth. 

Mordants: Same as in No. i. 

NO. 9. DARK TAN YELLOW 

Dissolve y^ oz. of dull yellow in i pint of 
water. 

Use 14 tablespoonfuls of dull yellow dye 
to 6 yds. of cloth. 

Mordants: Same as in No. i. 

NO. 10. LIGHT OLIVE TAN 

Dissolve y^ oz. of bright yellow in i pint 
of water. 

Dissolve y^ oz. of dull yellow in i pint of 
water. 

Dissolve I oz. of dark blue in i pint of 
water. 

Use 6 tablespoonfuls of bright yellow 
dye, 4 tablespoonfuls of dull yellow dye, 1 5^ 
tablespoonfuls of dark blue dye to 6 yds. of 
cloth. 

Mordants : Same as in No. i. 



Rich dull 
yellow 



Dark tan 
yellow 



Light 
olive tan 



78 



HAND-LOOM WEAVING 



Old ivory 



Rich navy 
blue 



Dark 

Persian 

blue 



Gobelin 
blue 



NO. II. OLD IVORY 

Dissolve y^ oz. of bright yellow in i pint 
of water. 

Dissolve y^ oz of drab in i pint of water. 

Dissolve y^ oz. of dull red in i pint of 
water. 

Use I teaspoonful of yellow dye, and i 
teaspoonful of drab dye, and y^ teaspoonful 
of dull red dye to 6 yds. of cloth. 

Mordants: Same as in No. i. 

NO. 12 RICH NAVY BLUE 

Dissolve I oz. of dark blue in i pint of" 
water. 

Use full pint measure of dark blue dye 
to 6 yds. of goo,ds. 

Mordants : i oz. sulphuric acid, 3 oz. 
Glauber salts. Boil i hour. 

NO. 13. DARK PERSIAN BLUE 

Dissolve I oz. of dark blue in i pint of 
water. 

Dissolve y^ oz. of green in i pint of^ water. 

Use 10 tablespoonfuls of dark blue dye, 6 
tablespoonf uls of green dye to 6 yds. of cloth. 

Mordants: Same as in No. 12. 

NO. 14. GOBELIN BLUE 

Dissolve I oz. of dark blue in i pint of 
water. 



\ 



DIRECTIONS FOR DYEING 



79 



Dissolve y^ oz. of green in i pint of water. 
Use 6 tablespoonfuls of dark blue dye, 4 
tablespoonfuls of green dye to 6 yds. of cloth. 
Mordants: Same as in No. 12. 



NO. 15. LIGHT GRAY BLUE 

Dissolve I oz. of dark blue in i pint of 
water. 

Dissolve i^ oz. of green in i pint of water. 

Use 3 tablespoonfuls of dark blue dye, 2 
tablespoonfuls of green dye to 6 yds. of cloth. 

Mordants: Same as in No. 12. 



Light 
gray blue 



NO. 16. LIGHT SAGE GREEN 

Dissolve y^ OZ. of green in i pint of water. 

Dissolve }i^oz. of bright yellow in i pint 
of water. 

Dissolve % oz. of dull red in i pint of 
water. ■ _ 

Use 10 tablespoonfuls of green dye, 2 
tablespoonfuls of bright yellow dye, and i }4 
tablespoonfuls of dull red dye to 6 yds. of 
cloth. 

Mordants: Same as in No. i. 



Light sage 
green 



NO. 17. LIGHT OLIVE 

Dissolve y^ oz. of green in i pint of water. 
Dissolve y^ oz. of bright yellow in i pint 
of water. - 



Light olive 



8o 



HAND-LOOM WEAVING 



Dark moss 
green 



Golden 
brozvn 



Dissolve i/j^ oz. of dull red in i pint of 
water. 

Use 1 6 tablespoonftils of green dye, 4 
tablespoonfuls of bright yellow dye, and 3 
tablespoonftils of dull red to 6 yds. of clotli. 

Mordants: Same as in No. i. 

NO. 18. DARK MOSS GREEN 

Dissolve 2 level teaspoonfuls of green in 
I pint measure of water. 

Dissolve i^ oz. of bright yellow in i pint 
of water. 

Use full pint measure of green dye and 
15 tablespoonfuls of bright yellow dye to 6 
yds. of cloth. 

Mordants : 3 oz. of Glauber salts and i oz. 
of sulphuric acid. 



Boil y^ of an hour. 



NO. 19. GOLDEN BROWN 

Dissolve y^ oz. of dull yellow in i pint of 
water. 

Dissolve y^ oz. of dull red in i pint of 
water. 

Dissolve i^ oz. of green in i pint of water. 

Use 20 tablespoonfuls of dull yellow dye, 
5 tablespoonfuls of dull red dye, 15 table- 
spoonfuls of green dye to 6 yds. of cloth. 

Mordants: Same as in No. 18. 



DIRECTIOXS FOR DYEIXG 



8i 



I oz. of dark blue in i pint ot 
I4 oz. of bright yelloAv in i pint 



NO. 20. DARK BRONZE 

Dissolve i^ oz. of green in i pint of Avater. 

Dissolve % oz. of dull red in i pint of 
water. 

Dissolve 
water. 

Dissolve 
of water. 

Use 8 tablespoonfuls of green dye, 12 
tablespoonfuls of dull red dye, 4 tablespoon- 
fuls of dark blue dye to 6 yds. of cloth. 

Mordants: Same as in No. 18. 

Redip in 4 tablespoonfuls of green dye 
and 5 tablespoonfuls of bright yelloAV dye. 

Mordants: Repeat the one above. 

" These formulas can be taken as the basis 
of many other tones and shades Avhich can 
be secured by a slight alteration of propor- 
tions. Bv addino; a trifle more dull red, 
green, indigo, or drab liquid dyes, a color 
can be darkened. By using less of these 
than the formulas call for, the colors will be 
lighter. By using more of dull or bright 
yelloAv a color can often be made richer with- 
out darkening it. Beginners are cautioned 
against making changes until they become 
familiar with the dves. In makinof ncAv 
trv them on 



experiments 

G 



yard lengths, 



Dark 
bronze 



These 
formulas 
are the 
basis for 
n lime r Otis 
tones 



HAND-LOOM WEAVING 



carefully subdividing any given formula for 
both dyes and mordants, and increasing the 
proportion of any particular color desired. 
If the cloth should fail to take up the dye 
properly after boiling the full time, increase 
the quantity of acid, lifting the cloth out 
when adding the acid to the dye bath." 

Excellent suggestions by Miss Albee for 
color schemes in stripes may be found on 
pages 64 and 65. 

[Mrs. Albee is prepared to furnish any of 
the foregoing dyes at 20 cents an ounce. Her 
address is Mrs. Helen R. Albee, Pequaket, 
Silver Lake P. O., N. PL] 



A deep 

blue wool 

rug made 

of carpet 

yarn 




METHODS OF SPLICING 



83 



METHODS OF SPLICING MATERIALS 
FOR WEAVING 



CUCH materials as carpet and oriental 
wools, fine worsteds, carpet ravelings, 
darning and knitting cotton should, in splic- 
ing, be run past each other. In Aveaving, run 
the wool through the warp to the very end. 
Start the new piece a few warp threads back, 
being careful to go over and under exactly 
the same warp threads as you did when fin- 
ishing tjie end. As you pass these threads 
you will find that you are taking up the 
right warp threads, and that no mistake has 
been made. It is best, to run the threads 
past each other in the middle of the mat rather 
than on the sides. The children learn this 
method of splicing very quickly and the 
result is much more satisfactory than knot- 
ting, because the back of the rug or mat will 
be smooth. As Mrs. Wiggin says: ''There 
should never be a wrong side to work any 
more than there should be to folks." 

In splicing such materials as silkoline, 
rags, candle-wicking, chenille, and macreme 



Wooletis^ 
fine 

ivorsfeds, 
ravelings^ 
and 
cottons 



Silkolme^ 
cheese 
clot/i^ 7-ags 



8^ 



HAND-LOOM WEAVING 



Candle- 

che7iiue^ 

and 

macreme 

cord 



German- 
town wool, 
heavy 
worsted's, 
and 
rope silk 



Raffia 



cord, lay the end of one piece over another, 
each lapping about one-quarter inch, and sew 
securely with silk or thread of like color. 
Cut off the selvedge ends of rags. These 
strips can be run past each other, but the 
work will not be so smooth. 

In splicing Germantown wool, heavy wor- 
steds, or rope silk, thread a worsted needle 
with one strand obtained by unwinding the 
wool or silk, lay one end over the other, and 
sew over and over. Twist the part just sewn 
between the thumb and finger and the splic- 
ing will be hardly visible. 

When weaving stripes, splice the wool so 
that the piecing will come on top of the rod. 
In this way the new color will start at the 
edge of the rug, as it should, and the number 
of loops on the rod will be the same on each 
side. Consider the under side of the weaving 
as the rigJit side. It is always smoother and 
cleaner, and the splicing can be done more 
neatly on top of the rod. 

Splicing raffia is the most difficult of all, 
and the method used in braiding and basket 
weaving is the best. As you near the end of 
a strip in weaving it usually becomes nar- 
rower. Find another strip having a narrow 
end, and place one over the other, securing, 
if necessary, by winding a very narrow piece 



METHODS OF SPLICING 



85 



— just a thread torn from a long piece — and 
fastening this by sewing a few times over 
and over. Or, the two narrow ends may be 
run past each other, as in carpet ravelings. 
Care should be taken to have the splicing the 
same width as the other parts of the weav- 
ing, so that the spliced parts will not be 
noticeable. 

Leather, leatherette, and celluloid strips 
should be long enougli to extend the entire 
width and length of the frame without splic- 
ing. The ends can be cut, as is done in 
paper weaving, or turned in some pretty 
way like that in the splint work. 



Leather^ 

leatherette^ 

attd 

celluloid 

strips 



6'6 



HAND-LOOM WEAVING 



Plain rug 

zvith end 

sir ipes 



SUkoline 

rug ivith 

three 

white 

stripes 



WOOL AND SILKOLINE RUGS 
OR mats" 

C ILKOLINE rugs or mats are by far the 
prettiest for doll-house use. The method 
of preparing the strips is explained under 
Materials (page 51). Make 
the warp with twine of the 
same color as the silkoline. 
It should be a three-eighths- 
inch warp. Choose a plain 
color for the body of the rug, 
and a -short distance from 
each end weave several 
stripes of a contrasting color. 
The rug in the illustration 
is of deep cardinal. The 
stripes can be of olive green, 
black, or any preferred color. 
Mottled stripes are also attractive and 
effective. When the stripes at the foot are 
woven, ascertain the distance from the foot 
piece to the last one. To know where to 
commence the first stripe at the head, meas- 
ure the distance just found from the head 
piece down, and mark on both rods by tying 




SILKOLIXE RUGS OR MATS 



87 



or sewing- a colored string to the Avarp. 
This helps the child to understand Avhere 
the stripe should begin, which he soon 
learns to measure for himself ; and this 
training in accuracy and independence is 
most excellent. There is nothins^ better than 
learninof self-reliance, and the child AA'ho has 
been taught it, is not apt to ask others to do 
his examples for him. To learn the man- 
ner of making the stripes and spaces each 
of the same Avidth, count the loops on the 
rods (one has to weave twice across the loom 
to have one loop on a rod), and haA'e the same 
number on each side. Care should be taken 
not to ti^'ist the strips in weaving. The 
method of splicing the strips and fastening 
the warp strings is explained in Chapter V. 
The rug may be finished Avith a avooI or silk 
fringe of the predominating color, or a fringe 
of the combined colors. If desired, it may be 
left plain, catching the Avoof strips together 
at each end to conceal the AA-arp strings. 
When a mistake has been made, run the 
needle back under the same strings instead 
of pulling out AAdiat is AA^rong. It prcA^ents 
stretching and a destruction of the material. 
Mottled rugs are made of figured silko- 
line. Choose oriental colors, no matter hoAv 
gaudy the silkoline may look in the piece. 



Finishing 
the ends 



Mottled 
rugs 711 a de 
ofjigured 
silkoline 



88 



HAND-LOOM WE A VING 



It will have a beautiful effect when woven. 
Portieres are pretty made in this way. 




These rugs should always be plain 
without stripes. 



that is, 



SILKOLINE RUGS OR MATS 



Plain rugs 
with 
mottled 
borders^ or 
mottled 
rugs with 
plain 
borders 



Plain rugs with, mottled borders, or mot- 
tled rugs with plain borders, are the delight 
of the children. Adjust the frame for the 
size required, and decide how wide the border 
is to be. It is necessary to have an extra 
pair of rods, if one desires a smooth and well- 
finislied rug. The border of the rug repre- 
sented in the illustration is two inches. This 
should be woven with, a tape needle. Weave 
the border at the foot of the loom. This 
extends the entire width.. Place the extra 
rods two inches toward the center from the 
side rods on the outside of the rug, keeping 
them back of the border already woven at the 
foot. This will outline the wsides of the plain 
oblong in the center. Weave the left and 
right hand borders up to a point two inches 
from the head piece, taking care to go around 
the rods just placed. Then begin the plain 
center. As you come to the border on each 
side, run your tape needle through the loops 
of mottled silkoline which are around the rod, 
but do not go around the rod itself with the 
plain silkoline, since doing so would make a 
ridge in the rug. Draw the woof strips 
tightly and firmly, so that the work will lie 
flat and smooth when removed from the 
loom. Be sure to weave the center far 
enough, remembering that the upper woof 



go 



HAND-LOOM WE A VING 




A plain 
si I ko line 



rug, 

with a 

mottled 

border 



Strips in the border will crowd it down. 
When the center is finished, remove the 
extra rods and finish weaving the border to 



SILKOLINE RUGS OR MATS 



91 



the head piece. In selecting a color for the 
center, match one of the colors in the figured 
silkoline. The color for the center in the 
rug of the illustration on page 90 is green, 
and the same color appears also in the mot- 
tled border, with yellow and brown. The 
ends should be left plain, the Avarp strings 
being concealed as directed. These rugs are 
very beautiful, and can be made in an infinite 
variety through the use of different colors, 
and by reversing the center and border. 
They can be made of carpet or Germantown 
wool, in two colors or in two tones of one 
color. In weaving rugs with centers and 
borders, weave a little farther than the exact 
measure, because the next woof threads will 
push down the woof already made, and you 
may find that you have not woven the cor- 
rect measure. These rugs are useful as "heel 
rugs", they are placed under the piano near 
the pedal to protect the carpet from the 
pressure of the heel. (See also page 82.) 

Adjust the loom for the size required. 
The plaid effect in the holder illustrated on 
page 92 is obtained by stringing a close warp 
with green and white carpet wool, alternating 
two of white with four of green. In weav- 
ing, use two woof threads of white and four 
of green to make the square correct. The 



Holder or 
mat 



g2 



HAND-LOOM WEAVING 



Holder of 

green 

and white 

car;pet 

ivool 



Many 

squares 

joined 

together 



Small rug 

with 

fringe 



Stair 

and hall 

carpets 



kindergarten 
designs make 
pretty holders. 
If you have 
woven a hold^ 
er, it will be 
finished when 
it is removed 
from the loom 
and the warp 
strings have 
been fastened. 
If you wish 
your holder to 
be very thick, weave two of these pieces, 
lay a square of felt or flannel between and 
sew or crochet the edges together. If the 
work is to be a mat, knot a pretty fringe all 
around it. Many of these squares can be 
joined to make sofa pillows, afghans, slum- 
ber robes, and other dainty articles. With a 
continuous warp, one can weave long strips 
for the same articles. If a small rug for Miss 
Dolly's bedroom is desired, string the warp 
so that the two ends will have a fringe. 
Stair and hall carpets for the doll house can 
be woven in these pretty designs by adjust- 
ing the loom for a narrow strip, and, if nec- 
essary, a continuous warp. 



HAMMOCKS 



93 



HAMMOCKS 

T^O weave, a hammock, one m.ust first 
adjust the loom to its full size. Tie two 
rings together and fasten them at the back of 
the loom, to head, foot, and sides, as in the 
illustration. One must then 
decide how close the warp is 
to be strung. Measure the 
string, which should be con- 
tinuous, allowing enough to 
go to the rings at the back 
and make a buttonhole stitch 
each time. Then wind on a 
long thin stick or dress steel, 
in such a way that it will pass 
easily through the rings. In 
stringing the hammock in 
the illustration, a penholder 
was used. The rings are tied, with white 
cord, to the four sides of the loom. By doing 
this, all tangling of the warp string is 
avoided, and it is far preferable to splicing. 
Tie the first warp string to the top ring. 
Draw it tightly through the first groove. 



Method 
of adjust - 
7nent 




Back of 
loom, 
showing- 
method of 
stringing- 
warp 
through 
rings for a 
hammock 



94 



HAND- LOOM WE A VING 



Use of 

stripes for 

various 

colors 



Length- 

zvise 
. stripes 



over the face of the loom to the opposite 
groove, then to the back of the loom through 
the bottom ring. Make a buttonhole stitch 
and return in the same manner over the 
face of the loom, around to the top ring, 
where you make a buttonhole stitch and 
return, until the whole warp is strung. Care 
should be taken to make it firm and tight. 
Hold the string and ring firmly in the left 
hand while making the buttonhole stitch 
with the right. Cut the woof cords long 
enough to allow a fringe on each side of 
the hammock. Weave each cord separately, 
tying in pairs around the rods. Stripes of 
one or more colors can be woven at each end 
or at intervals through the hammock. By 
weaving two colors alternately, the stripes 
will be lengthwise instead of crosswise. 
Knot the fringe at each side. To fasten the 
top and bottom woof cords so that they will 
not pull out of place, thread a tape needle 
with cord and tie each warp string close to 
the woof. Another way to secure the top 
and bottom woof cords is to weave two cords 
at one time, twisting one over the other 
between the warp strings. The bottom one 
should be woven before the hammock is 
commenced. The top one can be woven 
before the hammock is finished, and pushed 



HAMMOCKS 



95 




up close to the head piece. Then fill up the 
space. 

Instead of knottinsf the frins^e as sus:- 
gested, tAvo cords can be twisted at each side 
of the hammock in the same way that the 
woof cords are secured at the top and bot- 
tom. This forms a heading for the fringe. 
Take up tivo cords of the fringe at a time. 
If desired, the strings which extend from the 
rings to the hammock may be woven for the 
space of an inch or so close to the rings 



Making 

the 

fringe 



96 



HAND-LOOM WEAVING 



The 
stretcher 



The 
head-rest 



Hammock 

with 

lengthwise 

colored 

stripes 

Knotted 
hammocks 



To string 

warp for 

hammock 

in order to 

have the 

sides 

shorter 

than the 

center 



instead of making- a buttonhole stitch. Make 
a stretcher for the head by covering a piece 
of rattan with buttonhole stitch. Fasten this 
to the hammock. A head-rest can also be 
woven and adjusted. To remove the ham- 
mock from the loom, cut the two rings apart, 
and then lift the warp strings from the 
grooves. A very pretty hammock can be 
made by stringing the warp of different 
colors, in order to make lengthivise stripes. 
Weave a neutral color through them. In this 
case, have a close warp. Pretty hammocks 
can be made by knotting instead of weaving. 
Cut two semi-circular pieces from light 
wood or pasteboard. These should suit the 
width of the hammock to be made. If this 
is the width of the loom, then 9^ inches 
long and two inches at the widest part. Cut 
the curved edge in notches to correspond 
with the number taken in the head piece. 
These pieces will be firmer and more satis- 
factory if made of wood and finished at the 
lower edges like the metal head piece. This 
can be easily done by glueing them to a nar- 
row piece of wood so that they will stand. 
If furnished with perforations, they can be 
laced to the head and foot pieces or the rods 
can be run through them. By stringing the 
warp in this way, the sides of the hammock 



HAMMOCKS 97 



will be shorter than the center, and there 
will be no danger of Miss D0II3/ falling out. 
The warp can be strung more quickly and 
easily if hammock hooks similar to those in 
the two illustrations below are used. Meas- 
ure the right length — 22 warp strings 31 
inches long for the metal loom, or 29 the 
same length for the wooden loom — and 
wind as before. 

In using hammock hook No. i, knot half 
the number of warp strings in the left-hand 

t-^ ring and half in the right- 

J J hand ring. If hook No. 2 be 

\ f used, unpin the part at the 

11 right, knot the warp strings 

f^ 1 1 ^'^^l ^^^^S" tti® straight edge at 
I J \^ J the bottom, and then pin 
^^^ ^^^ the right-hand part again. 
Weaving each cord separately across the 
loom makes a heavy fringe at the sides. If a 
lighter fringe be desired, 
cut the woof cords twice 
the width of the loom 
plus twice the length of 
the fringe. Weave across 
the loom, leaving enough 
for the fringe at the side, then around the 
rod and back again, drawing the cord through 

to the same length as the part left at first. 

7 



i 



Hammock 
hooks 



Hook 

No. 1 



Hook 
No. 2 



pS 



ILtXD-LOO.U ll'EA JVjVG 



Weuv2fi£- 




Weave in the same way with the second 
color, having the loop on the sa?/ie rod and 
the fringe at the sa^/ie side as the other. 
Weave the next two cords with loops on 
the opposite rod and fringe on the opposite 

side. Continue in 
this way until the 
hammock is fin- 
ished. Make a 
heading at the 
sides as described, 
only carry the two 
cords through the 
loops, crossing 
them between on 
top of the rods. 
The warp strings 
can be passed 
through the rings 
without buttonholing. A firm pretty finish 
can be made at the sides by cutting two 
cords — one of each color two yards long and 
buttonholing around the rods on top of the 
woof cords which extend at each side. Fas- 
ten these long cords at the bottom of-the 
loom. After two pairs of woof cords have 
been tied, buttonhole the edge over them 
and around the rods and continue this until 
the hammock is finished. 



)^M|»|^|ll|.|*|»|l.|li|t 

A square 
of silk 
canvas 



FA CE A ND DISH CLO THS A ND BA TH R UGS pp 



FACE AND DIvSH CLOTHS AND 
BATH RUGS 

'T^HE materials for making face and dish 
cloths are : cheese cloth cut bias, darn- 
ing or knitting cotton, or candle-wicking. 
Those made from ^ - „ _ __ ,„, 
cheese cloth resem- ' . 
ble the Turkish rags, l 
Cut and splice the ; 
cheese cloth accord-- \ 
ing to directions on ; 
page 83. The face ' 
cloth in the illustra- ' 
tion is made from '; 
white cheese cloth, ; 
cut bias. String the 
warp -^ inch with 
white twine. It be-- ; 
ing desirable to ; 

have face and dish '^--— -t-*,,.... ^. -^^-'-'- ^, 
cloths as soft as possible, do not push the 
woof threads too closely together. When 
the cloth is removed from the loom, conceal 
the ends of the warp strings as previously 
L.ofC. 



Materials 



,^ 



A face 
cloth made 
from 
cheese 
cloth 



100 



HAND-LOOM WEA VING 



directed. Fine white thread should be used. 
If preferred, the edges can be bound with 
tape. Cloths of candle-wicking are very 
quickly woven, but they are not so soft. 

Face cloths of cheese cloth with borders of 
knitting cotton would be durable and satis- 
factory. Make them according to directions 
given for rugs with centers and borders. 

Cross-barred face cloths made of knitting 
cotton No. 4, in two colors, are very pretty. 

Serviceable bath rugs can be made by 
making three strips as long as desired, and 
then fastening together. They are made of 
cheese cloth cut bias, but the woof threads 
are packed much tighter than in the face 
cloths. Finish the edges by stitching a 
white tape all around. Floor rugs of any 
kind can be made firmer by finishing in this 
way with tape of the same color. 



Bath rug 

made with 

continuous 

warp 



A pattern 

for a 
floor rug 



% 



RAFFIA MATS 



lOI 



RAFFIA MATS 

1\ /r ATS of raffia are made like all the other 
mats. The warp may be of twine or 
carpet thread. In this case, the mat should 
be woven of raffia in the natural color, with 
stripes of bright color at each end ; or, it 
may be of some dark tone with stripes of a 



Method of 
tnaking- 
raffia 
mats 



1 



»wirnwrriinjifi|iffif 



^ 



„i. 





Method of weaving a raffia mat on the loom^ showing colored stripes 



102 



HAND-LOOM WE A VING 



contrasting color. By using a warp of raffia, 
many of the beautiful kindergarten designs 
can be produced. Use one color for the warp 
and another for the woof. The method of 
stringing a warp of raffia is described in 
"Methods of Stringing Warp," on page 45. 
The illustration shows a raffia mat in process 
of making. The natural color of raffia is 
used, with stripes of cardinal, and the method 
of stringing color in the warp to obtain this 
effect is clearly seen. The children will 
have no difficulty in carrying out the pattern, 
if they remember that the rods correspond to 
the border of the paper mat. Before stringing 
the warp for a kindergarten pattern, count 
the strips in the paper mat and begin to 
count on the loom from the rods. In this 
kind of work the string on top of the rod 
does not count. It forms the border of the 
mat. 

In making mats, or matting, of raffia, the 
material can be carried over the rods as in 
wool-weaving, or it can be finished on the 
edges in the same way as the real matting 
is done. This will be easily understood by 
examining a piece of matting. In stringing 
the warp, have three strings over each bar 
instead of one. Cut the woof strips several 
inches longer than the width of the loom. 



The rods 

and the 

ivarp 

strings 

in kifider- 

gartejt 

patterns 



Stringing 
the warp 




A ivoven mat of raffia^ from a khidergarten pattern in green 
and the natural color of the raffia 



104- 



HAND-LOOM WEAVING 



Porch 
curtaiiis 



Glove, 

trinket, 

and 

viouchoir 

boxes 



Weave the first strip, leaving a piece at each 
side. Thread a tape needle with one end 
and weave it in and out the three warp 
threads on the rod. Then cut it off close to 
the edge. Finish off all the ends in this 
way. When the work is removed from the 
loom, press the edges flat with a warm iron. 
It is a little easier to keep the pattern right 
by weaving in this way, and the work resem- 
bles the real matting more nearly. Use a 
tape needle for weaving raffia. 

If the doll house which we are fitting is 
a large one with porches, one could complete 
the furnishings with a porch curtain, for 
sunny afternoons. 

Boxes of all kinds can be made of raffia 
woven in panels. It will make the box 
stronger and firmer to overhand a piece of 
rattan around the edges of the panels before 
joining them in the form of a box. Thread a 
worsted needle with a narrow strip of raffia 
and buttonhole the edges of the panels 
together; or, sew them over and over and 
cover with a braid of raffia. vSpiral-weaving 
is pretty for this finishing. It is described 
in an article entitled '' Straw- Weaving," in 
''American Homes" for September, 1900, a 
magazine published in Knoxville, Tenn. 
Glove, trinket, and mouchoir boxes are pretty 



RAFFIA MATS 



105 



for holiday gifts. By using different patterns 
and colors a great variety of them can be 
made. 

For rugs made of carpet wool, string a 
three-eighths-inch Avarp of twine, or oriental 
cord, the color of the body of the rug. Use 
a deep tone of red, olive green, or any pre- 
ferred color, with a stripe at each end. A 
study of rugs will soon enable one to get the 
right proportion of rug and stripe. Beau- 
tiful rugs are made with a succession of 
Roman stripes separated by a narrow one 
of deep red, green, or blue, the ends of the 
rug being woven of the same color. Center 
and corner patterns can be woven by placing 
the pattern under the Avarp. By stringing 
a close warp of the same material all the 
designs for paper-weaving can be easily 
reproduced. LengthAvise stripes are also 
pretty. String the Avarp Avith different colors 
and weave a neutral color through them. 
The rug in the frontispiece is woven of heavy 
carpet wool, some of AA^hich is seen on the 
table. 

Beautiful patterns for rugs can be made 
by cutting squares and triangles of paper 
according to directions given in the " Kin- 
dergarten Guides." The '' Paradise of Child- 
hood" has some A^ery pretty ones. There 



Rugs of 

carpet 

wool 



Patterns 
for rugs 



io6 



HAND-LOOM WE A VING 




m^^^^vAm 



A rug- 
pattern 
from 
a square 



Funda- 

inental 

form 

No. I 



A rug 
pattern 
from aft 
equilat- 
eral 
triangle 



are two fundamental forms 
for this paper-cutting. The 
first is made from a nine-inch 
square. Fold one diagonal, 
place the right acute angle 
upon the left so as to produce 
four triangles resting upon 
each other. The form now 
lies before you with the right 
angle at the right and two 
acute angles (one on top of the other) at the 
left. Lift one of these acute angles and 
place on top of the angle at the back, creas- 
ing the fold ; then fold the remaining acute 
angle under to the same angle at the back, 
creasing as before. Now place the form with 
the right angle at the back and hold all the 
open edges to the 
left while cutting. 
Illustrations in 
the ''Kindergar- 
ten Guides " show 
a network drawn 
on the triangle at 
the top as an aid 
to transferring 
the pattern. 

The second' fundamental form is made 
from a six-fold equilateral triangle. Direc- 






RAFFIA MATS 



107 



tiorivS for folding and cutting this from the 
square are given in the '' Paradise of Child- 
hood." It can be cut, also, from a circle 
whose diameter is equal to the width of the 
rug desired. In drawing and cutting the 
pattern, hold the form with the entirely 
open sides toward you. The whole pattern is 
cut at once and the unfolding often reveals 
a charming design for a rug, which can be 
woven in tones or contrasting colors. If cut 
from colored paper, it can be mounted on 
white and placed under the warp. Beautiful 
original designs in conventional leaf and 
flower patterns can also be made. 

To make a conventional leaf form, use 
fundamental form No. i. Cut the leaf on 
the mid-rib and lay this part on the base of 
the triangle with the point of the leaf on the 
open edges at the left, and the stem on the 
closed part at the right. Draw around the 
edges of the leaf and cut, taking care not to 
separate the leaf forms at the center, which 
is at the closed part at your right hand. 

Some excellent suggestions for this leaf- 
cutting in centerpieces and borders can be 
found in the '' Pratt Institute Monthly " for 
April, 1900. 

Dusters for hardwood floors are best 
made of strips of old flannel. They can be 



Funda- 
mental 
form 
A'O. 2 



Conven- 
tional leaf 
forms 



Dusters 



io8 



HAND-LOOM WEAVING 



Doll towels 




A doll towel with 
fringed ends 



made of stocking strips, or cheese cloth. 
Make two mats the full size of the loom, sew 
on three sides and run a gathering-string 
around the top. It will fit better if it has a 
piece of cheese cloth sewn at the top through 
which the gathering-string can be run. This 
makes a fine duster to slip over a broom. 
If one prefers, a continuous warp can be 
strung — the length to be twice the length 
of the broom part — and a long piece woven 
which will require sewing on two sides only. 
Doll towels are very fascinating things to 

make. Adjust the loom for the 

required size. The exact propor- 
tion can be ascertained from a large 
towel. String the close warp with 
fine darning cotton and have the 
strings in pairs with fringe at 
each end. Allow several inches 
for fringe so that it can be knotted 
easily. The woof threads, which 
are also of fine darning cotton, 
should be pushed very closely and 
smoothly together. Plain stripes of 
red or blue, or fancy stripes made 
with a kindergarten design, can be 
woven. Observe the same direc- 
tions for spacing the stripes which 
are given with the silkoline rug. 



RAFFIA MATS 



log 



The towel in the illustration is made of 
white darning cotton, with the stripes and 
initial of red. The children will be delighted 
to lay towel borders with their tablets, and 
after cutting and pasting with colored paper, 
weave them in towels for Miss Dolly's 
housekeeping. Cross-stitch the initial as 
previously directed. Lunch cloths and bed- 
spreads can be made in the same way. 
These should be fringed all around. A 
cross-barred cloth or spread can be made 
by putting the color in the warp at regular 
intervals and weaving across with color and 
white to form squares. Pretty quilts of coarse 
cotton can be made with kindergarten de- 
signs. By weaving many squares, a large 
quilt can be made. See directions on page 50. 

Bed and carriage blankets are best made 
of single zephyr, although Germantown 
wool will do. The heavy carpet wools are 
also pretty. Some suggestions for this work 
have already been given under the head of 
Materials. These blankets are really mats, 
but made only for another use, and are to be 
woven in a similar way. Those with centers 
and, borders are pretty, and the plaid ones 
are always attractive. (See illustration of 
the holder on page 92.) 

For doll shawls choose a pretty Scotch 



Patterns 
for towel 
borders 



Liiiich 
cloths 



Bed- 
spreads 



Quilts 



Bed and 
carriage 
blankets 



Dollshawls 



no 



HAND-LOOM WEAVING 



Doll skirt 



Reins 



A square 

Tarn 

O' Sha7iter 



plaid and match the colors in fine wool. 
String a close warp with wool, copying the 
Scotch plaid exactly. Weave the colors 
across so that a ''truly" plaid shawl may 
grace Miss Dolly's shoulders on the cold 
winter mornings. A striped shawl is pretty, 
or one having one color for the center and 
another for the border. 

Miss Dolly may have a lovely petticoat, 
too. String a continuous warp long enough 
for the width of the skirt. Adjust the rods 
for the length. 'By using a little color in 
the warp near the right edge of the weav- 
ing, the skirt will have some stripes. Twist 
a cord of the avooI and run in the top for a 
draw-string. 

To make reins, adjust for a narrow strip 
and string a close, continuous warp the 
length desired. Make a piece, also, to go 
across the front. Use Germantown knitting 
yarn. A black warp with a bright red woof 
is pretty. 

In order to obtain a Tam O'Shanter for 
Dolly, first weave a square the required size. 
String a close warp with wool and weave 
a kindergarten pattern with two colors. 
When completed, remove from the loom, fold 
four corners to the center, turn them in to 
form an opening for the head, and fasten 



RAFFIA MATS 



III 



the edges by seAving-, or by lacing with a 
cord made of the two colors. Fasten a tassel 
on the top and it is finished. Angora wool 
is pretty for these caps. 

The head piece of the loom should be 
adjusted for the width of the rug for which 
the fringe is required. A rug nine inches 
wide would require fringe nine inches long. 
Adjust the rods one inch apart — that is, wuth 
one perforation between the rods. String 




Fringe 



Fringe for 
a rug in 
red and 
black 



the warp in every groove, one string over 
each rod and three between, makinar five in 
all. Weave over and under one until the 
heading is finished. If you have an extra 
side rod, place it in the sixth perforation 
from the right-hand rod. This will make 
tassels a little over two inches long. If a 
shorter fringe is preferred, adjust accord- 
ingly. If you have not an extra side rod 
remove the left one and place as directed, 
leaving the right one in the heading until 
the whole fringe is finished. Thread a large 
tape needle with two pieces of worsted, as 



Threadi7ig 
the needle 



//. 



HAND-LOOM WEAVING 



Making 

the fringe 

into tassels 



long as the two can be conveniently man- 
aged. If the fringe is made of two colors, 
take one of each for the tassels, weaving the 
heading with the one which predominates 
in the rug. Run the ends in the grooves to 
fasten them. Wind under the right rod, 
which was left in the headinof, through the 
first stitch, which includes the warp string 
over the rod, then over the extra rod to the 
right. Wind under again through the next 
stitch in the heading (always around the 
rod) and so on until the end is reached. To 
make this fringe into tassels, separate six 
strands of each color and tie with the two 
colors, running the tape needle and worsted 
along from one tassel to another, or tie each 
one securely and cut. . The fringe will need 
no finishing at the ends. Run the short 
ends, which were wound through the grooves 
in the beginning in order to fasten them, 
through a few stitches in the heading. The 
fringe can be made of one color, and of any 
width. To take the fringe from the loom, 
first remove the rod at the end of the tassels 
and cut the fringe before removing the rods 
from the heading. This will insure straight 
cutting at the ends of the tassels. If one 
prefers a knotted fringe, cut and knot before 
removing the heading. By examining rug 



Removing 

the fringe 

from the 

loom 



RAFFIA MATS 



II 



K)iotting 



fringes in the furniture stores one can get a 
very good idea of the manner of knotting. 
(See also directions for splicing German- 
town wool on page 84.) 

A siiTiple fringe can be knotted quickly 
and easily in the ends of the warp strings, 
after the rug is taken from the loom. First 
decide upon the length of the fringe when 
finished. Add at least two inches to allow 
for knotting. Cut each piece of wool twice 
this length, double, and thread a tape needle. 
Pass the needle from the right side of the 
rug to the wrong, through the warp strings 
at the end of the rug. Draw the loop of 
wool through and unthread the needle. Pass 
the two ends of the wool down through the 
loop and draw it tight. When this has been 
done in every pair of Avarp strings, knot 
every other piece of the fringe together, in 
the same way that towel fringe is made. 

This question of whether a rug should 
have fringe or not is much discussed at pres- 
ent. It is largely a personal one. The best 
way, perhaps, is to study different kinds of 
rugs and know which ones are usually made 
with fringe and which are not. 

Bed shoes of all sizes are easily woven, 
and make a useful holiday gift. They are 
made without soles and are intended to be 



Bed shoes^ 
or socks 



iH 



HAND-LOOM WE A VING 



Bed shoes 



drawn tip around the ankle like a high moc- 
casin. Use the soft double Germantown 
wool. White, fastened together with pink or 
blue, or white striped with a color, may be 
used, and are attractive. The socks in the 
illustration are of white wool with a pink 
seam up the instep and pink scallops around 
the top. One sock is shown on a last, and the 
other as it appears off the foot. The stripes 
in the knitting can be 
shown in the weav- 
ing by using a color. 
The full size of the 
loom makes a shoe 
of medium size. 
String a close warp 
with white wool. If 
the shoe is to be all white, 
weave with the same, leav- 
ing the color for the finishing. If it is to be 
striped, weave perhaps eight or ten times 
across with color and then with white ; when 
the weaving is finished you will have a mat 
9x12 inches. Double one of the short edges 
and sew over and over on the wrong side 
with white wool. This is the toe. The two 
long edges now lie together. They may be 
crocheted, or knitted, with colored wool by 
holding them close and fulling in, or by 




> 



RAFFIA MATS 



115 



Baby shoes 



puckering 2, little. If this is done in color, 
it makes a pretty seam on the top of the foot 
and front of the ankle. The top may be fin- 
ished by crocheting a beading and scallops 
of the colored wool. Run a ribbon or wor- 
sted cord through the beading. If desired, 
the long edges may be laced together with 
ribbon one-half inch wide. Baby shoes are 
made in the same way. To ascertain what 
length to adjust the loom, measure the sole, 
then up, back of the heel, to a point above 
the ankle. For the width, measure around 
the foot. Finish the cord with tassels or 
balls. 

To make worsted balls, first cut two small 
circles from cardboard. From the center of 
each cut a smaller circle. Hold one circle 
over the other, and with a worsted or tape 
needle threaded with avooI, Avind over and 
over very closely until the hole in the center 
is completely filled. Always piece the wool 
on the outside edge. Cut the wool all around 
on the outside. Make a cord of the wool 
and slip betiveen the two circles. Then tie 
so as to fasten all the pieces of wool in the 
middle, leaving the cord long enough to tie 
in a bow if desired. Tear the pasteboards, 
remove them, and trim the wool evenly. A 
second ball should be fastened on the other 



Worsted 
balls for 
bed shoes ^ 
a7id other 
articles 



ii6 



HAND-LOOM WEAVING 



Photo- 
graph 
frames 



Table 
mats 



Tippet or 
scarf 



Wristlets 



end of the cord, after it has been laced through 
the beading. 

To weave photograph and picture frames 
of silk, chenille, raffia, celluloid, or leather, 
proceed in the same way as for a bordered 
rug, having the oblong or square center the 
required size for the picture. Foundation 
frames for mounting the work can be pur- 
chased, usually, at the stores where tissue 
paper and flowers are sold. 

Square and oblong table mats for hot 
dishes can be made of candle-wicking, knit- 
ting cotton, or cheese cloth. 

To-day, tippets and scarfs are very little 
used, but they are very comfortable things 
to wear to school on a cold day. In order 
to make them, string a continuous warp of 
the required length with Germantown dark 
colored wool. Weave the same color for 
the woof, and brighten it at intervals with 
Roman stripes. A plaid scarf can be woven, 
if preferred ; while with a close warp one 
can have a kindergarten pattern- in another, 
or contrasting color. 

In making wristlets, one must decide how 
long they are to be, and adjust the length 
on the loom. Measure around the wrist for 
the width, remembering that the wristlets 
will stretch when pulled over the hand. 



RAFFIA MATS 



117 



Weave in stripes or plaid, or, if desired, plain, 
stringing- the warp with the same wool as is 
used in weaving. Remove the mat and sew 
the edges together. 

Sleeve protectors can be woven of raffia 

^ » «■ & llifiL_ A I 111 I. Jjiff iftif 1 1 



Sleeve 
protectors 




in the same way as wristlets. Alake them so 
they can be fastened on the outside of the 
sleeve, like a cuff. 



Purses, 



or chatelaine bags, are made of 



ii8 



HAND-LOOM WE A VING 



Purses, or 

chatelaine 

bags 



Borders 

for rugs or 

squares 



Shopping 

attd school 

bags 



Opera 
glass bags 



Borders 

for rugs or 

squares 



knitting- vsilk. Beads can be added, if desired. 
Adjust the loom for the required size, and 



vs i 8.".: s :.- J s s.' 



BSgflfiSSWflSMfiffl 





iiiuiiuiiyiimiyiiuiiyiiii 


■- 




s: s s.".: s :.m : s.".s : us: 


■- 




■"U Lf^.I" ■■ ■■ m 


1 III IJIH 1 






■ ■ B 


■ ■ 


■ ■ 


■ ■ 


1 ni ir 








PLn ■■ B 


PLn 


■ 


■ ■'■ 


1 1 JEjL 




.. 




H+mW^ 


M>H- 


^ 


4-^4- 


-■-4W 


H-- 


.- 



string a continuous warp, if necessary. One 
can obtain the silver or nickel tops, which 
open and close, at the department stores. 

It will be better to use heavier material 
for shopping and school bags. Raffia makes 
a strong bag ; silk strips are serviceable, and 
leather strips are good for school bags. For 
opera-glass bags, make two mats and lace or 
weave them together, or string a continuous 




:8i.s I s M : : M B 8 :.8 : sa 



warp. Use rope silk, chenille, or knitting 
silk with beads. 



RAFFIA MATS 



IIQ 



- The accompanying illustration, and an- 
other on page 98, and also the vignette on 
the title page, show squares of silk canvas, 
and will give one many ideas of how they 
may be used. One has a cross-stitched pat- 
tern of chenille, and in another the chenille 
was alternated with silk in the warp, and 



Panels of 
silk canvas 
for boxes 



When one has mastered the mysteries of 
weaving thoroughly enough to make a good 
mat, it is very easy to ''turn them into " vari- 
ous articles. There is no sleight of hand 
about it. 

Silk canvas panels are made by adjusting 
the loom for the required size of the sides 
of the box, and 
weaving a plain ^ 
mat for the top. ' 
A number of ^ 
suggestions have ' 
been given on 
page 52, under ', 
the head of Ma- . 
terials. ' ^ 

Pretty neck- ^ 
ties of fine knit- . 
ting silk can be 
made on the 
loom by using '^ ~^- ^ ^ 
a continuous warp of the same material. 




A square 
of silk 
canvas 
zvith cross- 
stitched 
pattern 
of chenille 



120 



HAND-LOOM WEAVING 



Sofa 

pillows^ 

cushions, 

sac /let 

cases and 

veil cases 



both chenille and silk were used in the woof. 
The squares can be made up in cushion and 
box covers, sachet cases, sofa pillows, or the 
larger squares can be used as veil cases. A 



I Mi ll i rUii-ll l lll ll lumillll l lll l llllllim-14- 



■■■■■■■■■HHHBBMnHBBHBaaHHBHMaBBBBHBaanaaaBBUI BB 



ss B B . B : B . 8 s : . : s s . : : s . s s 8 . a Bi as 



88 8 .::.l: :b8b:::;:bSb:::^^^^^^^ e i\ 



88 8 a "8 a a— a-H— M"""™--:-™ - ■■""■ -- 



88 8 i':::! 8V\8?:8888VS88:-:8.='/! h^^^^^ 



Pattern 

for 

rugs or 

squares 



g|....:s 









8 8."b"b b-B8888b88888V ."bVB 8 ...bbbB SB 







number of them can be joined for large sofa 
pillows. In the latter case they can be made 
of wool, and many of them could be crocheted 
together for an afghan or slumber robe. 
The design in the illustration is a pattern 



RAFFIA MATS 



121 



which may be used for either a Wilton or 
Axminster rug, or for mats, sachet cases, 
cushion or box covers, or cross-stitch embroid- 
ery on burlap, or silk, or wool canvas. The 
patterns given on pages 120, 125, 130, and 134 
will be found adaptable for rugs or squares. 
Slumber robes or afghans have been pre- 
viously mentioned on page 54, under the 
head of Materials. It will be found very 
easy, after a little experience with a continu- 




8." ".Si^ ".:." V8." ".SSiB8S:SS 



ous warp, to make strips of any length. It 
is better to wind the extra lengths of warp 
upon spools, as has been suggested, or around 
the tops of the rods. Large portieres can be 
made of long strips of silk or silkoline cut 
bias. Fasten the long strips together hori- 
zontally in imitation of Bagdad curtains. 

Hair receivers are easily made from raffia. 
Make a square mat and fold it in cornucopia 
form. 



Slumber 
robes or 
afghans 



Borders 
for rugs or 
squares 



Portieres 



Hair 
receivers 



122 




HAND-LOOM WE A VING 




Rugs and 
di'apertes 


ORIENTAL RUGS 

' 1 '0 be quite up to date, Miss Dolly should 
have oriental rugs and draperies in her 
house beautiful. These are easily made on 
the loom, and the little girl or boy, who has 
first copied a pattern and then seen it grow 
under patient fingers, has a thing of beauty 

1 I 1 1 1 1 1 ! 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 i 1 1 1 1 1 1 1 i i 














1 








U u 




U U 


1 


Border for 






4 


•I- 


-■ L 




■fLP^ 






oc 






■vnp 






H W 








r n 


n n 




n n 


_ -. . 


Patterns 


1 1 1 M 1 1 i 1 1 1 1 1 1 1 1 1 1 M 1 1 1 1 1 1 i 1 1 1 1 1 1 

and a joy forever. What could give more 
pleasure than to be able to say fifty years 
from now: "I wove that, my dear, when I 
went to school " ? Truly the grandchildren 
would reply : '' How I wish I could have 
gone to grandma's school!" — only they may 
have something equally beautiful which 
will take its place in that far-off time — who 
knows? 

The patterns for oriental rugs familiar m 
the East have descended through hundreds 
of years, and the exquisite colors, produced 



A 



ORIENTAL RUGS 



123 



by vegetable dyes, and increasing in rich- 
ness and beauty with age, are only to be 
seen in old rugs. We have nothing in our 
modern dyes to compare with the old color. 
One is soon interested in the study of these 
Eastern treasures, and it becomes second 
nature in a short time not only to chat 
familiarly of Kermans, Serebends, Khivas, 




Bokharas, and Kiz-Kilims, ad infinitu7n, but 
to jot down now and then in one's notebook, 
or still better in one's design book (made of 
the kindergarten squared paper, one-eighth 
inch), a pretty border or centerpiece for the 
rug which is to grace some doll house. The 
patterns of Turkish rugs (see page 127) are 
of geometrical or arabesque designs — an 



Oriental 

colors 



Borders 
for rugs 
or squares 



iH 



HAND-LOOM WEA VING 



Inscrip- 
tions on 
Persian 

7'UgS 



Pattern 

for border 

of Persiaft 

rug 



Bokhara 
rugs 



edict from the Koran having prohibited the 
reproduction of living things. The Per- 
sians, however, weave animals, birds, etc., as 
their ancestors did in days gone by. 

There is some very interesting reading 
in ''Oriental Rug Weaving," by V. Kurdji, 
on the subject of inscriptions often found on 
Persian rugs. He says : '' If the possessors 
of some of the rare pieces that are sold in 
this country knew the meaning of the in- 
scriptions woven in their rugs, the knowl- 






IlilllilllM 



edge would add a charm and interest which 
would make them more valuable than the 
harmonious colors so beautifully blended." 
Oriental rugs take their names from the 
countries or provinces in which they are 
made. Bokhara rugs are made in moun- 
tainous districts of Turkestan, and have 
never been successfully imitated, because 
the dyes used are made from a plant grown 
only in that district. The designs are geo- 
metrical, and the colors deep maroon or blue. 
The pile is woven as close as velvet. They 



ORIENTAL RUGS 



12- 



are noted for the superior quality of their 
dyes. Khiva rugs, sometimes called afghan, 
are made in Turkestan. They resemble the 
Bokhara ru.^-s, but are coarser in texture 



Khiva 
rugs 




and heavier in pile, and they differ from 
them in having a wide selvage at each end. 
Some Khivas have a small pattern in red 
mosaic over the surface with a circle in the 



126 



HAND-LOOM WEA VING 



center. One often sees a rug made of a rich 
golden yellow with a background of dark 
red. 

The Kiz-Kilim rugs have no nap, and are 
woven with a needle. They are thin and 
almost alike on both sides. The larger sizes 
are woven in two strips fastened together 
so that they can be taken apart and used for 
curtains. '' These Kiz-Kilims are woven by 



Kiz-Kilim 

rugs 



Pattern 

for a 

Kiz-Kilim 

stripe 



^^J'^^h^M 


■1 


IBBBB >BB fl ■ B BB B 


BBBI 


i 


Bl 




BBBI 


i 


Bl 


IBBBB Eb ■ fl B BB ■ 


BBBI 


B 


Bl 


IBBB BB B BB BBBI 


B 


s 

»' 


fjh:h^j^^ 


■B 

B B 

BBBB 


\ 


Bl 
■1 


■BB9BBB95SBB&SS9SSBBSBS 


B 



Armenians and Turks in Anatolia (the land 
of sunrise, and the Greek name for Asia 
Minor). The literal translation of the word 
Kiz-Kilim is bride's rug, it being a custom 
in that country for a bride to present to her 
husband one of these rugs, which she has 
woven during her engagement to him. The 
quality of the rug is supposed to measure 
the quality of the husband's affection for his 




A Kiz-Kilim rug- 



I2i 



HAND-LOOM WEAVING 



Kiz-Kilhii 
rugs 



Materials 
used 



bride, consequently we have many beautiful 
specimens of this class, the brilliant hues 
and intricate designs of which could only 
have been inspired by the whisperings of 
Cupid. They are in open-work patterns — 
called perforated — and often have long tufts 
of colored silk tied to the rugs with blue 
beads, in order to keep them from the effects 
of the Evil Eye." The Kiz-Kilim rug in the 
illustration was copied from a genuine rug. 
The filling is a deep blue and the borders 
are in oriental colors. The center figure is 
white, with red, brown, and yellow inside. 
There are four kinds of Kilims. Much 
interesting and valuable information can 
be found in John Kimberley Mumford's 
"Oriental Rugs"; New York: Charles Scrib- 
ner's Sons, 1900, where directions for weav- 
ing Kiz-Kilims, Khivas, and Bokharas are 
given, with a few patterns. 

Oriental wools or carpet ravelings are 
used for these rugs. Copy your figures and 
colors from genuine rugs. The accompany- 
ing patterns were obtained in this way. 
See directions on page 47 for stringing a 
double warp with fringe at each end. First 
fasten the pattern under the warp ; then 
weave about one-quarter inch at each end 
ywith carpet thread like the warp. This will 




'/TWLrv 




yWr 



//// 




ORIENTAL RUGS 



I2Q 



'-1 



E: 



i 



— -.. 



a 



\^\ 



make it look like a '' truly " Kiz-Kilim. Next 
to this, weave a very narrow strip of sev- 
eral colors each twice across, regarding the 
double strings as one. Then weave each 
part of the narrow border. To make the per- 
forations, take up one thread of the double 
warp for one side of the 4 
pattern, and the other 
thread for weaving the 
pattern next to it. For 
instance, the ''steps," as 
the children call them, of 
triangle No. i, when fin- 
ished, will .stand close to 
the steps of triangle No. 2, 
with a little slit between. 
These perforations occur 
only where one pattern 
joins another of a differ- 
ent color, or the dark fill- 
ing. For instance, in the 
white figure in the center, 
where three or five squares come together, 
the slits occur at each end, the part between 
being woven over the double strings as if 
they were only one. In this way the per- 
forations of other parts are closed top and 
bottom. Use a tape needle and weave each 
section of the pattern separately. Weave 



Perfora- 
tions 



\i 






It, 



:= 



^!i 



=E 



i 



m 



II 



'I 



Pattern 
for a 
Turkish 
rug 



/?o 



HAND-LOOM WEAVING 



the filling last. As this peculiar tone of 
blue could not be obtained in carpet ravel- 
ings, an eighth of a yard of terry was raveled 
for the purpose. Take care not to draAv any 
part of the pattern too tight, or the perfora- 




tions will be too large. The right and left 
edofes of the ru2: are woven over the rods 
to keep them straight. Both narrow bor- 
ders were woven before the center was com- 
menced. The pattern in the illustration is 



ORIENTAL RUGS 



131 



for a Wilton or Axminster rug, but can be 
used for mats, or box, sachet, and cushion cov- 
ers. It is made with cross-stitch embroidery 
on burlap, silk, or wool canvas. (See also 
page 120.) 

The children can lay these Turkish pat- 
terns with square tablets upon their desks, 
the pattern being drawn upon the board, 
or on paper with a rubber pen. It will be 
a deliofht to the children to transfer them 
to paper by drawing and then coloring, or 
by cutting and pasting colored papers. 

The genuine Khiva and Bokhara rugs are 
made by weaving and knotting alternately. 
It will be easier at first to weave a web, or 
foundation. Choose a tight twisted yarn 
about the color of the rug to be woven. 
String a close warp of the wool and weave 
plain up and down, one string at a time, 
until you have a rug of the desired size. 
Put in the pattern first, and then the filling. 
This work will be almost too difficult for 
little children. Carpet wools and German- 
town wool can be used. It will not be 
found difficult to follow the pattern, espe- 
cially if one is used to cross-stitch embroid- 
ery. Each stitch counts for one of cross- 
stitch. Keep the stitches very close together 
so that the nap will stand up well when 



Turkish 
patte7-ns 
laid with 
tablets 



Stitches 
for Khiva 
and 

Bokhara 
rugs 



rj^ 



HAND-LOOM WEAVING 



Stitches 
for pile 
weaving 



finished. Silk rugs can be copied in the 
same way, using floss or rope silk for the 
pile. If one prefers, a piece of burlap may 
be stretched across the loom and secured 
to the rods, instead of weaving a foundation, 
as suggested. 



/ 




\ 



/" 




ii. „_ -_ - - ----- -^-'—'^ 

Stitches for pile weaving are very easily 
made. This illustration showing examples 
of stitches for pile weaving illustrates the 
methods used in the stitches, and may be used 
for Axminster or Wilton rugs, for boxes, 
sachet cases, and other articles. The tape 



ORIENTAL RUGS 



133 



needle is the kind used for weaving when 
the large needle cannot be used. It is pref- 
erable to use one of this kind on account of 
the eye and blunt point, and it may be ob- 
tained at the notion counter in department 
stores for a few cents. There are two stitches, 
each occupying half of the illustration and 
numbered from left to risfht, bes^inninof at 
the top. Make No. i by passing a tape needle 
threaded with wool down throus^h the w^eb, 
leaving a short end, then up one stitch to 
the left. This is the first step. In No. 2 
continue over on the right side, past the 
stitch where you started, to the stitch on 
the right; then down and up through the 
first hole, and cut off the wool the same 
length as the end you left at first. No. 3 
shows a stitch completed. No. 4, one row 
of stitches, and No. 5, three rows, show- 
ing how one row overlaps another. When 
the rug is finished, the ends should be cut 
evenly, so that the nap is like velvet. The 
children would say that this stitch looks 
like a two-legged stool, and so it does. 

The second stitch is made so that the 
nap lies sideways from left to right. No. a is 
just like the preceding stitch. No. b shows 
the needle passing doAvn the stitch where 
you started and up one stitch to the right. 



Stitches 
for pile 
weaving 



The first 

stitch 



The second 
stitch 



134- 



HAND-LOOM WE A VING 



Cut off the wool and pull the end left at 
first over the last one. This pile should 
stand very straight and even. No. c shows 
a completed stitch ; No. d one row, and No. 
c three rows. These stitches are useful in 
mending Khiva and Bokhara rugs. 



Wiltoit 

and 

Axtnin- 

ster rugs 



Pattern 

for a rug-, 

inat^ or 

cover 



Wilton, Axminster, or any rugs havin 



e a 



pile, can be woven with the same stitches. 
The pattern in the illustration may be used 






for either a Wilton or Axminster rug, for a 
box cover, cushion, sachet case, or mat ; and 
can be cross-stitched embroidery, on burlap, 
silk or woolen canvas. 



NA VA/0 BLANKETS 



135 



©halter ^l^lrte^n 

NAVAJO BLANKETS 

IVTAVAJO blankets were first made by 
the Pueblo Indians, from whom the 
Navajo Indians learned the art, and not long 
after the latter excelled in the making of 
them. Amoncr the 
Pueblo Indians 
the men do the 
work; but women 
are the weavers 
among the Nava- 
jos. In the illus- 
tration on this 
page is seen a 
miniature Navajo 
loom with the blan- 
ket commenced. 
The two cords 
woven at the sides 
with the woof 
can be easily seen. Simple looms are sus- 
pended between two posts or trees, and the 
weaver sits upon the ground. A twig is 
used for a shuttle, and a reed, fork-shaped 



A sketch 




A 

miniature 
Indian 
loom 



ij6 



HAND-LOOM WEAVING 



Indian 

iveaving 



The 

colors 

used 



like a hand, is used to push down the woof 
threads. The blanket is made waterproof 
by pounding down the threads with a bat- 
ten, a good picture of which is seen in Dr. 
Washington Matthews' article on Navajo 
weavers in the Third Annual Report of the 
Bureau of Ethnology. Separate balls of 
color are used to carry out the pattern, 
which is sometimes traced in the sand be- 
fore the work is commenced. As many as 
twenty-nine different balls have been seen 
hanging from a single blanket.- Some of 
the designs have been handed down from 
one generation to another, and are carried 
entirely in the memory. They are often 
symbolical ''and unfold a whole legend to 
the knowing eye of the native." The weav- 
ing is done from the bottom up, some work- 
ing in one direction, while others weave 
first at the bottom, then turn the loom 
upside down, and, after weaving about the 
same distance there, finish in the middle. 
The last part of the weaving is like darn- 
ing, and is often done with a needle. The 
colors most used are white, gray, black, 
a bright yellow, red (a scarlet, generally 
obtained by raveling bayeta cloth), and 
sometimes blue. In former times, when the 
Indians used vegetable dyes, the colors 




A Navajo Indian woman weaving- a blanket 



n 



HAND- LOOM WEAVING 



Old 

India It 

blankets 

are i'are 



Descrip- 
tion of the 
illustra- 
tion 



Method of 
making 



were beautiful and lasting. These old blan- 
kets are becoming more and more rare, and 
to-day in their places we have the bright 
and not always satisfactory results of ani- 
line dyes. The blanket in the illustration 
facing this page has narrow stripes in the fol- 
lowing colors: On each end (seven stripes) 
red, black, white, orange, green, white, black. 
The two groups of six stripes in the middle 
are : Black, white, red, green, white, black. 
Before the advent of the present squaw 
dress, the black, red, and dark blue blan- 
kets were used as clothing, but the best 
blankets were, and still are, worn at sacred 
dances. Dr. Matthews, in his report, gives 
an interesting description of the method of 
making these blankets, with several pictures 
of the better examples. Navajo blankets 
are finished with four border cords, which 
are secured as the weaving progresses, and 
the ends are fastened at the four corners by 
small tassels. 

Small Navajo blankets can be woven on 
the loom. Draw the pattern and place under 
the warp, fastening it to the side rods. Use 
warp or carpet thread for the warp, and 
weave with a tape or upholstery needle. One 
may weave all the pattern first, and then put 
in the filling; while another will weave as 




A Navajo blanket 



I4-0 



HAND -LOOM WEAVING 



Indian 
blankets 



The colors 

in the 

blanket 

on page 141 



the Indians do, filling in from one part of 
the pattern to the other by threading the 
needle with a different color. This can be 
done, without running the thread under- 
neath, by hooking it in the loop of the pat- 
tern just finished. These little blankets are 
very fascinating things to make, and the 
children become much interested in them, 
and in Indian life as well. 

This very beautiful Navajo blanket, 
shown in the illustration, has three broad 
red stripes, two narrow red stripes about 
one-half the width of the former, and four 
gray stripes about one-half the width of 
narrow red stripes. The centers of all the 
figures are red, like the filling — a brilliant 
scarlet. The colors of the large, figures, 
beginning at the center of each, and counting 
from left to right, are as follows : Nos. i, 3, 
and 5, red, green, and light yellow. Nos. 2 
and 4, red, white, and black. The small fig- 
ures, counting the same w^ay, are: Nos. i, 3, 
and 5, red, white, and black. Nos. 2 and 4, 
red, yellow, and green. The four corners are 
finished with twisted red cord-like tassels. 
This cord also extends across the warp ends. 
Dr. Matthews tells in his article on " Navajo 
Weavers" how two cords are twisted and 
woven at the sides with the woof. 



NA VAJO BLANKETS 



141 



The two Navajo Indian blankets illus- 
trated in this chapter, and the pattern on the 
following page, may be easily adapted for 




tA ve7'y 
beautiful 
Navajo 
Indian 
^ blanket^ 
A showt7ig 
, \ the 

I manner of 
decoration 



the loom. Germantown knitting wool or car- 
pet ravelings can be used, although to obtain 
softer wool is better. Some of the hand- 
somest Navajo blankets have a long nap. 



142 



HAND-LOOM WE A VING 



Navajo 
palieriis 
laid ivitli 

tablets 



A pattern 
for a 



Nai 



/avajo 
blanket 



The children will take pleasure in lay- 
ing Navajo patterns with triangular tablets, 




and then transferring the pattern to paper 
by drawing and coloring, or by cutting and 
pasting in colors. 



SONGS, GAMES, A AW STORIES 



14-3 



Chapter ^oxxxX^^n 

SONGS, GAMES, AND STORIES 



n^HERE are many beautiful songs which 
can be sung during the weaving. 
Thomas Carl^de has said : 

" Give us, O give us the man who sings at 
his work ! He will do more in the same 
time ; he Avill do it better ; he Avill persevere 
longer. One is scarcely sensible of fatigue 
whilst he marches to music, and the very 
stars are said to make harmony as they 
revolve in their spheres." 

There are songs about the birds' nests, 
always pleasing to the little folks, and 
doubly so Avhen they have held in their 
own hands the wonderful bit of weaAang, 
so strong and yet so soft, AvoA^en by the 
mother-bird for the baby-birds. Mrs. Spider 
is also A^ery interesting Avith her lace-like 
Avebs Avhich are to be found even in aa^cII- 
regulated schoolrooms, and the songs of the 
bleating sheep Avho giA^e us their aa'-ooI fill 
every little heart AA^th delight. Miss Pouls- 
son's Finger Play, ''The Lambs," giA^es the 
restless fingers something to do and the 



So7igs and 

games 

lighten 



So7igs for 

the 

children 



144- 



HAND-LOOM WE A VING 



A iveaving 
game 



"eight white sheep all fast asleep" afford a 
chance for a good laugh over the " two old 
dogs close by" (the thumbs). One has the 
opportunity, too, of noticing whether the 
eight white sheep on the tiny hands are 
really ivJiite enough to do the weaving. A 
smiling allusion to some small black sheep 
will bring them back clean for the next ses- 
sion. 

The following weaving game can be 
played in several ways. This extract is 
from the ''Kindergarten Guide," by Lois 
Bates : '' Six children stand in a row ; a tall 
one at each end for the border of the mat 
and the other four representing the strips. 
The child who is to be the weaver holds 
one end of a long tape, while the other is 
fastened to the left shoulder of the first 
child. The weaver weaves the tape in and 
out among the children, placing the second 
row lower down. It will be easily seen that 
the children who had it passed m front of 
them in the first row, had it behind them in 
the second, and vice versa." 

The following weaving song in the 
Walker and Jenks book can be sung during 
the weaving. To be sure it is not really 
"over and under" when you think of them 
as cJiildrcn. Remember that they represent 



SONGS, GAMES, AND STORIES 



H5 



a mat, and they are for the tirae the strips 
and border. 

{Sung to the tu7ie of ''Nellie Bly.'') 

Over one, tinder one, 

Over one again. 

Under one, over one, 

Then we do the same. 

Hi, weavers ! Ho, weavers ' 

Come and weave with me ! 

You'll rarely find, go where you will, 

A happier band than we ! 

Kate Douglas Wiggin (Mrs. Riggs) in 
her ''Republic of Childhood" describes the 
game in this way : 

'' First choose a row of children for 
threads of the warp, standing at such a 
distance from each other that a child may 
pass easily between them. Second, choose a 
child, or children, for thread of woof. After 
passing through the warp, each child takes 
his place at the end and other children are 
chosen." In this way more children can take 
part than if a tape were used. Some teachers 
play it in a different way, using the desks 
with the seats turned up for the warp and 
the whole number of children for the woof, 
winding in and out all over the room. This 
is very delightful, indeed, if there is enough 
vSpace for the children to pass easily without 
tripping on the iron supports of the desks. 



Explana- 
tion of the 
game 



10 



14-6 



HAND-LOOM WE A VING 



Bird 
gajnes 



Interest- 
ing stories 



This is a good game for a rainy day, when 
there is no outdoor recess. 

The bird games are beautiful and leave 
a wholesome impression of home life and 
home love on the children, which will have 
a lasting influence. Few children, brought 
up in this tender and beautiful way, will 
ever feel an inclination to harm the birds, 
or indeed any animal. 

The fund of stories of birds and birds' 
nests is almost inexhaustible. Miss Pouls- 
son's '' In the Child's World" contains many 
stories of the weaver (pages 407-412), and 
several about birds and birds' nests (pages 
292-301), Her talks to teachers with regard 
to the presentation of each subject are very 
helpful, as well as her suggestions for the 
teachers' reading. Stories of the weaving 
birds, particularly the African weaver, are 
interesting. It is said that two birds work 
together, one on the inside of the nest and 
the other on the outside, passing the grass 
and twigs in and out, until the home is com- 
pleted. The children will enjoy, too, stories 
of weaving in other lands, material for which 
can be easily obtained. In fact, no one need 
to be without stories in these days of books 
and magazines. 

Last, but not least, is the conversation 



SONGS, GAMES, AND STORIES 



14-7 



during the Aveaving. Anyone Avho has at- 
tended a teachers' meeting, Avhere the indus- 
trial work was being given, has not failed to 
remark the sociability all over the room. 
"HoAv are you getting on?" "Let me see 
yours." " Oh, I cannot get it at all," etc., etc., 
are heard everywhere, and yet those same 
teachers go into their class rooms the next 
day and expect the children to Avork AAdthout 
whispering. If they Avill read AAdiat Mrs. 
Wiggin says in the " Republic of Child- 
hood," in her talk on "ScAAnng," they A\^ill 
never be guilty of it again. A good plan 
is to have the room perfectly quiet AAdiile a 
dictation is being giA^en, and then alloAv a 
period of relaxation Avhen the little folks 
can compare and admire the Avork to their 
hearts' content. BcAA^are of too much repres- 
sion. A child AA^hen asked Avhy a tree grcAV 
crooked, replied : " Somebody stepped on 
it, I suppose, AA^hen it AA^as a little felloAv." 
The ansAver is painfully suggestive. Mrs. 
Wiggin truly says : " If the children are 
never to speak except AA^hen they ansAA^er 
questions, hoAv are Ave to knoAv aught of 
their inner life?" 

The folloAving list of songs, games, and 
stories suggests interesting material to cor- 
relate Avith the Avork in hand-loom AA^eaAune. 



Conver- 
satiofi 



Never- 
7'epyess 
the 
childreti 



148 



HAND-LOOM WE A VING 



SONGS AND GAMES 

Atkinson, Frank H,, Jr. Singing Songs for 
Children. See Coonley. 



Songs and 
Games 



Beebe, Katherine. 



cago: Thomas diaries Co 



Schoolroom Plays. CJii- 
25 cents. 
A Weaving Game. 

Brown, Kate L. Stories in Song. See Emerson. 

CooLiDGE, Elizabeth. After Supper Songs. 
Chicago: Herbert S. Stone & Co. $2.00. 

Coonley, Lydia A.; Smith, Eleanor; Gaynor, 
Jessie L.; Root, Frederick W. ; and Atkin- 
son, Frank H., Jr. Singing Verses for Chil- 
dren. Nezv York: The Macmillan Co. $2.00. 

Davis, Katherine Wallace. Singing Rhymes 
and Games. Chicago: Clayton T. Sninmy Co. 
35 cents. 

Emerson, Elizabeth U., and Brown, Kate L. 
Stories in Song. Boston : Oliver Ditson Co. 

fi.oo. 

The Oriole's Nest. 

FoRSYTHE, Clarence. Old Songs for Young 
America. New York : Doubleday, Page & Co. 
1901. $2.00. 
Needle's Eye. 

Gaynor, Jessie L. Songs of the Child World. 
Nezv York: T/ie John CJiurch Co. fi.oo. 
The Bird's Nest. 
The Happy Lambkins. 
Song of the Shearers. 
Spinning the Yarn. 
Grandma's Knitting Song. 
Weaving Song. 



SONGS, GAMES, AND STORIES 



H9 



Gaynor, Jessie L. See also Coonley. 

Hill, Patty S. Song- Stories for the Kinder- 
garten. Chicago : Clayton T. Suviviy Co. $i,oo. 
The Children and the Sheep. 



HoFER, Mari Ruef. Children's Singing Games 
Chicago: Published by Mari Riicf Hofcr^ 
Kindergarten Magazine Co. 50 cents. 

Hubbard, Clara Beeson. Merry Songs and 
Games. St. Lonis : Balnier & Weber Mnstc 
Co. $2.00. 

Jenks, Harriet S. Songs and Games for Little 
Ones. See Walker. 

Neidlinger, W. H. Small Songs for Small 
Singers. New York: G. Schirvier. $1.00. 
The Spider. 
The Bee. 
The Rainy Day. 

Nursery Stories and Rhymes for the Kinder- 
garten and Home. Springfield^ Mass.: Milton 
Bradley Co. $1.00. 

The Song of a Baby's Blanket. 

The Song of a Baby's Shirt. 

Prajt, Waldo S. St. Nicholas Songs. Nezv 
York: The Century Co. $2.00. 

Root, Frederick W. Singing Songs for Chil- 
dren. See CooNLEY. 

Smith, Eleanor. First Book in Vocal Music. 
Chicago and Nezv York: Silver, Bur dette & Co. 
30 cents. 

Oriole's Nest Song. 
Spinning Song. 



Songs and 
Games 



I50 



HAND-LOOM WEAVING 



Songs and 
Games 



Stories 



Smith, Eleanor. A Primer of Vocal Music. 
Chicago and Nezv York: Silver, Biirdctte & 
Co. 25 cents. 

The Lazy Sheep. 

The Spider. 

The Silkworm. 

See also Coonley. 

Songs in Season. Plan Book. Chicago: A. 
Flanagan. 50 cents. 
The Lambkin. 

Walker, Gertrude, and Jenks, Harriet S. 
Songs and Games for Little Ones. Boston: 
Oliver Ditson Co. $1.50. 
Birdies in the Green Wood. 
Fly, Little Birds. 
In the Branches of a Tree. 
Eight White Sheep. 
Weaving Song. 



Boston : Ginn 
Lee & Shepard. 



STORIES 

Andrews, Jane. Each and All 
& Co. 50 cents. Bosto. 
$1.00. 

New Work for Pense. 

Chase, A., and Clow, E. Stories of Industry. 

Boston : Educational PiiblisJiing Co. 2 vols. 

60 cents each. 

Stories of Cotton, Wool, Silk, and Carpets. 
Clow, E. Stories of Industry. See Chase. 

Farmer, Lydia Hoyt. Boy's Book of Famous 
Rulers. Nezv York : Tliovias Y. Crowell & Co. 
$1.50. 

Robert Bruce and the Spider. 



SONGS, GAMES, AND STORIES 



i^i 



Miller, Olive Thorne. Little Folks in Feathers 
and Fur, and Others in Neither. Nezv York : 
E. P. DiLtton & Co. $2.50. 

The Spider Speaks for Herself. 

Stories of Caterpillars and Butterflies. 

A Funny Little Log House. 

PiERsoN, Clara Dillingham. Among- the Farm- 
yard People. New York: E. P. DtLtton & Co. 

The Lamb with the Longest Tail. 

The Twin Lambs, 

Why the Sheep Ran Away. 

PouLSSON, Emilie. Nursery Finger Plays. Bos- 
ton : Lot Jir op Publishing Co. $1.25. 
The Lambs. 

Child Stories and Rhymes. Boston : 

LotJirop Publishing Co. $1.25. 

The Story of Baby's Blanket. 

In the Child's "World. Springfield, 2 lass.: 

Milton Bradley Co. $2.00. 

Stories of Caterpillars and Butterflies. 

A Visit to the Weaver. 

John's Trousers. 

How a Little Boy got a New Shirt. 

Molly's Lamb. 

Sequel to an Old Story. 

Cotton Field Stories. 

The Flax. 

The Flax Flower. 

The Silk Worm. 

The Sparrow's Nest. 

The Life of a Silk Worm. 

The Goddess of the Silk Worm. 

The Nest of Many Colors. 

The Little Worm that was Glad to be Alive. 



Stories 



152 



HAND-LOOM WEAVING 



Stories 



Smith, Nora A. The Story Hour. See Wiggin. 

Stories in Season. Plan Book. Chicago: A. 
Flanagan. 35 cents. 

The Bramble Bush and the Lambs. 



Wiggin, Kate Douglas (Mrs. George C. Riggs), 
and Smith, Nora A. The Story Hour. Bos- 
ton: Houghton, Mifflin & Co. $1.00. 
The Child and the World. 



WiLTSE, Sara A. 
Morning Talks 
cents. 

Stories of Wool, etc. 



Kindergarten Stories and 
Boston: Ginn & Co. 75 



BOOKS AND MAGAZINE ARTICLES 



153 



A LIST OF HELPFUL BOOKS AND 
MAGAZINE ARTICLES 

BOOKS 

Albee, Mrs. Helen R. Abnakee Rugs. Bos- 
ton : The Riverside Press. Tssned by the 
author^ Pequaket, Silver Lake P. O., N. TT. 

Mountain Playmates. Boston : Honghton, 

Mifflin & Co. 

(Chapter on Rug-making.) 

AsHENHURST, Thomas R. Desigus in Textile 
Fabrics. London : Cassell & Co. 



Weaving and Designing of Textile 

Fabrics. London : Sirnpkin^ MarsJiall & Co. 
(Chapters on History of Weaving, Color, 
and Combination and Arrangement of 
Designs.) 

Bates, Lois. Kindergarten Guide. NezvYork: 
Longmans, Green & Co. 

Benjamin, S. G. W. Persia and the Persians. 
Boston : TToughton, Mifflin & Co. 

BiRDwooD, Sir George. Industrial Arts of 
India. London : Chapman & Hall. 

Bishop, Mrs. I. B. Journeys in Persia and 
Kurdistan. Neiv York: G. P. Putnam's Sons. 

Caine, William S. Picturesque India. New 
York : George Routledge & Sons. I 



Books 



^5^ 



HAND-LOOM WEAVING 



Books 



Collins, Treachor E. In the Kingdom of the 

Shah. London : T. Fisher Umvin. 
Davie, Oliver. Nests and Eggs of North 

American Birds. Columbus^ Ohio : The Lan- 

don Press. 
Dellenbaugh, Frederick S. North Americans 

of Yesterday. Nezv York: G. P. Putnains 

Sons. 

Dixon, Charles. Curiosities in Bird Life. 
London : George Redzvay & Son. 

Curious Nests. London : George Red- 
zvay & Son. 

Dugmore, a. Radclyffe. Bird Homes. New 

York : Double day., Page & Co. 
Earle, Alice Morse. Home Life in Colonial 

Days. Nezv York: The Macviillan Co. 
Firth, Annie. Cane Basket Work. London: 

L. tlpcott Gill. i8gg. Nezv York: Charles 

Scribner's Sons. 
Grinnell, George Bird. Indians of To-day. 

Nezv York : D. Appleton & Co. 

Story of the Indian. Nezv York: D. 

Appleton & Co. 

GuRDji, V. Oriental Rug Weaving. Nezv 
York : F. Tennysoti Neely Co. 

Herrick, Francis Hobart. The Home Life 
of the Wild Birds. Nezjo York: G. P. Put- 
nam's Sons. 

Holt, Rosa Belle. Rugs : Oriental and Occi- 
dental. Chicago: A. C. McClurg & Co. 

How to Make and Hov^ to Mend. (Directions 
for dyeing.) Nezv York : The Macniillan Co. 

Hummel, Prof. The Dyeing of Textile Fabrics. 
Nezv York : Cassell & Co. 



BOOKS AND MAGAZINE ARTICLES 



155 



James, George Wharton. Indian Basketry. 
New Yo7'k : Henry Malkan. igo2. 

Knapp, Elizabeth S. Raphia and Reed Weav- 
ing-. Springfield^ Mass.: Milton Bradley Co. 

Kraus-Boelte, Mme. Kindergarten Guide. 
(Occupations.) 'New York : Steiger & Co. 

Mason, O. T. Woman's Share in Primitive 
Culture. Nezv York : D. Appleton & Co. 

Morris, William. Some Hints on Pattern De- 
signing. Nezu York : Longmans^ Green & Co. 

MuMFORD, J. K. Oriental Rugs. Nezu York : 
Charles Scrib Tier's Sons. 

Sheldon, William E., and others. Illustrated 
Lessons with Paper Folding. Springfield, 
Mass.: Milton Bradley Co. 

Walker, Louisa. Varied Occupations in 
String Work ; comprising Knotting, Netting, 
Looping, Plating, and Macreme. Nezv York : 
The Macviillan Co. 

Varied Occupations in Weaving. Nezv 

York : The Macniillan Co. 

Wheeler, Mrs. Candace. Home Industries 
and Domestic Weavings. Nezv York : Asso- 
ciated Artists, 11^ East 2 jd Street. 

White, Mary. How to Make Baskets. Nezv 
York : Double day, Page & Co. igo2. 

W I E B E, Edward. Paradise of Childhood. 
Springfield, Mass.: Milton Bradley Co. 

WiGGiN, Kate Douglas (Mrs. George C. Riggs). 
Republic of Childhood (Occupations). Boston: 
Houghton, Mififiin & Co. 

Worst, Edward F. Construction Work. Chi- 
cago : A. W. Mumford. igoi. 



Books 



156 



HAND-LOOM WEAVING 



Fine art 
books 



Magazine 
articles 



FINE ART BOOKS 

The following books can be found in the 
Fine Art Collections in some public libraries. 
They are very valuable and contain many very 
beautiful illustrations of oriental rugs and car- 
pets, which are helpful in the study of design 
and of harmony in color: 

BuRTY, P. Masterpieces of Industrial Art. 
CoxoN, Herbert. Oriental Carpets. 

Lessing, Julius. Ancient Oriental Carpet Pat- 
terns. 
Robinson, Vincent J. Eastern Carpets. 

Vienna Imperial and Royal Austrian Mu- 
seum. Oriental Carpets. 

MAGAZINE ARTICLES 

A Profitable Philanthropy, by Mrs. Helen R. 
Albee. Rcviezv of Revieivs, July, igoo. 

Art of the American Indian. CJiautaiiquan, 
Marc J I, i8gg. 

A Study of the Textile Art, by Wm. H. 
Holmes. Sixth Annual Report, Bureau of 
Ethnology, Washington, D. C. (pp. 84, 85.) 

Domestic Art Number. Pratt Institute 
Mont lily, February, igoi. 

Home Industries and Domestic Manufac- 
tures, by Mrs. Candace Wheeler. The 
Outlook, Oct. 14, i8gg. 

Industrial Classes in Settlement Work, 
by George W. R. Twose. Pratt Institute 
Monthly, November, i8g8. 



BOOKS AND MAGAZINE ARTICLES 



157 



Magazine 
articles 



Industrial Education as a Social Force, by 
H. W. Stebbins. Educational Review^ May, 
igo2. 

Juvenile Portiere Makers. New York Tribune, 
New York City, March 10, igoi. Reprinted 
in Minneapolis Journal Junior, April 20, 
igoi, Minneapolis, Minn. 

Leaf Cutting (for rug designs). Pratt Insti- 
tute Monthly, April, igoo. 

Mrs. Volk and Her Work. Good Housekeep- 
ing, September, igoi. 

Navajo Weavers, by Dr. Washington Mat- 
thews. Third Annual Report of Biireau of 
Ethnology, Washington, D. C. 

(This volume also contains a number of 
fine illustrations of blankets, etc.) 

New England Rugs. Minneapolis Journal, 
Minneapolis, Minn., MarcJi 28, igoo. 

On the Designing and Making of Carpets, by 
F. J. Mayer. The Artist, July and August, 
i8gg. 

Prehistoric Textile Art of Eastern United 
States, by Wm. H. Holmes. TJiirteenth 
Annual Report of Bureau of Ethnology, 
Washington, D. C. (pp. 91, 92.) 

Some Social Aspects of Education, by G. Stan- 
ley Hall. Educational Reviezu, May, igo2. 

Straw Weaving. American Homes, Knoxville, 
Tejin., September, igoo. 

Teachers' College Record. Teachers' College, 
Columbia University, New York. 

(Containing a number of articles on 
weaving.) 



iss 



HAND-LOOM WE A VING 



Magazine 
articles 



Textile Industries of the United States. 
Chautauquan, MarcJi^ i8gg. 

Textile Industry Since 1890. Forum, May, 



Textiles, Old and New. The Craftsman, The 
United Crafts, Eastwood, N. V., Jaiiitary, 
igo2. 

(Contains " Notes from the History of 
Textiles," *'A Revival of English Handi- 
crafts," and ^' Brain and Hand.") 

The Elementary School Record, by Dr. John 
Dewey. Numbers i to 9. The University of 
Chicago Press, igoo. 

(Containing a number of articles on 
weaving and a record of industrial work 
done in the University Elementary School 
of the University of Chicago.) 

The Labor Museum at Hull House, by Jessie 
Luther. The Commons, Hull House, CJiicago, 
Vol. VII., No. yo, May, igo2. 

(Containing valuable illustrations of old 
looms, and the methods of spinning and 
weaving.) 

Weavers of the Philippines, by G. E. Walsh. 
TJie Catholic World, March, igo2. 

What is Being Done in Textile Education. 
CJiautauquan, August, igoo. 

Many topics interesting to teachers of indus- 
trial w^ork are dealt with in the instruction papers 
of the International Correspondence Schools, 
Textile department. Communications should 
be addressed to Christopher P. Brooks, New 
Bedford, Mass. 



THE INDEX 



^59 



©he ^nir^^e 



"Abnakee Rug- Industry," 63 ff. 
Accuracy, weaving develops, 22. 
Acids, used in dyeing, 69, 74 ff. 
Action, relation to ideas, 8. 
Afghans, weaving of, 49, 54, 120, 121. 
Albee, Mrs. Helen R., 63, 64 ff. 
Angora wool, 57. 
Aniline dyes, 73. 

Ashenhurst, quotations from, 13, 14, 16. 
Axminster rugs, 120-121, 131, 132, 134. 

Baby shoes', 115. 

Balls, worsted, 115. 

Basketry, preparation for, 23, 24. 

Bates, Lois, 23, 31, 144. 

Bath rugs, too. 

Batten, The, Hindoo and Egyptian, 15. 

Bed shoes, 113-114. 

Bed spreads, 109. 

Blankets, 56-57 ; carriage, 109. 

Blue dye, 59-60 ; wool carded, 62. 

Bokhara rugs, 123, 124-125, 128, 131, 134. 

Bookmark, 35-36, 37. 

Borders, 89, 109, 118, 121, 122, 123, 124. 

Candle-wicking, 52, 83-84, 108. 

Cap, 40. 

Carding, 62 ff. 

Carpet ravelmgs, see Ravelmgs. 

Carpet wool, rugs of, 105. 

Carriage blankets, 109. 

Celluloid strips, 55-56, 85. 

Chatelaine bags, 117-118. 

Cheese cloth, 51, 58 ff., 99, 108. 

Chenille, 42, 53 ; splicing of, 83-84. 

Chinese, weaving practiced by, 13. 

Clavigero, on weaving in Mexico, 14. 

Clouding, 63. 

Coles, C. S., 24. 

Colors, 62, 64-65, 136-138 ; color scheme, 
66 ; shading, 67-68 ; see also Dyes^ 
Fonmilas^ and names of colors^ 

Concentration, weaving develops, 22. 

Conversation in class room, 147. 

Copperas, 60. 

Cotton, darning, 55 ; knitting, 55. 
-Couch covers, weaving of, 49. 

Creed, The, 7 ; disregarded, 7-8. 

Cushions, 120. 

Demonstration cards, 31. 

Designing, weaving prepares for, 23, 25. 

Designs, 27, 31, 33, 35, 47-48, 57, 105 ff., 



Dexterity, weaving develops, 22, 24. 
Discouragement, Froebel's theory, 17. 
Dish cloths, 99-100. 
Doll's shawl and skirt, 109-110. 
Doll's towel, 55, 108-109. 
Dusters, 107-108. 

Dyeing, 14, 5B-82 ; formulas, 73 ff. 
Dyes, kinds of, 58, 60, 61, 72, 73 ; see also 
names of colors. 

Easel support for loom, 19. 
Egyptians, inventors of the loom, 14. 

Face cloths, 99-100. 

Felt mats, 23, 30-32. 

Finger Play, 143. 

Floor rugs, weaving of, 49-50. 

Formulas for colors, 73 ff. 

Frames, photograph and picture, 116. 

Free-paper weaving, 35. 

Fringe, 111-113. 

Froebel, Friedrich, 10, 17. 

Games, 143-152 ; list of, 148 ff. 

Germantown wool, 54, 55, 84, 109, 114. 

Gifts, made by children, 21, 34, 37, 55, 113. 

Glauber salts, 68, 6g, 71, 74 ff. 

Glove boxes, 104. 

Gray, wool carded, 62-63. 

Green dye, 60 ; dull shade, 60. 

Hair receivers, 121. 

Hammocks, 93-98. 

Hand-training in kindergarten, 10, 22. 

Hindoo loom, 15-16. 

Holders, 91, 92. 

Hurwitz, Professor, 13. 

Indian dyes, 58. 
Indian loom, 135, 137. 
Individual, The, training of, 28. 
Industrial training, 11, 28-29. 
Ink stains, 61. 
Iron rust, 61. 

"Jacob's ladder," 39. 

Kerman rugs, 123. 

Khiva rugs, 123, 125, 128, 131, 134. 

Kindergarten, hand-training in, 10. 

"Kindergarten Guides," 23, 31, 33, 144. 

Kiz-Kiliin rugs, 47, 123, 125, 126-129. 

Knotting fringe, 113. 

Kraus-Boelte, Mme., 25. 



i6o 



HAND-LOOM WEAVING 



"Kraus-Boelte Guide," 25. 
Kurdji, v., 124. 

Leaf forms, 107. 

Leaf stains, 61. 

Leather strips, 55, 85. 

Linings, 51. 

Loom, The, 13-21. 

Loom, The Todd Adjustable Hand, see 

Todd. 
Lunch cloths, 109. 

Macreme cord, 55; splicing of, 83-S4. 

Making, instinct for, 9. 

Manual training, 10. 

Materials, 10, 51-57. 

Mats, see Felt., Pape7\ and Table. 

Matthews, Dr. W., 58, 136, 138, 140. 

Measuring glass, 68-69. 

Mill, John Stuart, 8. 

Mitten, 40, 

Mordants, 68. 

Mottled rugs and borders, 87 ff. 

Mumford, John Kimberley, 128. 

Navajo blanke+s, 48, 135-142. 
Needle, used with loom, 19, 20. 
Nut stains, 60-61. 

Opera-glass bags, 118. 
Oriental cord, for warp, 43. 
Oriental rugs, weaving of, 122-134. 
"Oriental Rugs," 128. 
"Oriental Rug Weaving," 124. 

Panels, of silk canvas, iig. 

Paper mats, 23, 25, 33 ff. 

"Paradise of Childhood," 35, 105, 107. 

Patterns, see Designs. 

Pencil holder, 38. 

Persian rugs, designs for, 124. 

Photograph and picture frames, 116. 

Pile weaving, 132-134. 

Pink, wool carded, 62. 

Porch curtains, 104. 

Portieres, 121. 

Poulsson, Miss, 143, 146. 

Practical tr^iining, need of, 10. 

Principles, value of learning, 23. 

Public schools, practical training in, 

10, 18, 26-27. 
Purses, 117-118. 
"Pussy-cat stairs," 39-40. 

Quilts, 109. 

Raffia, 42, 45, 56, 58 ff., 71, 84-85. 

Raffia mats,method of weaving, 101-121. 

Ravelings, 43, 53, 83. 

Red dye, 60. 

Reins, no. 



"Republic of Childhood," The, 34, 145. 
Rope silk, 42, 52-53 ; splicing of, 84. 

Sachet cases, 120. 

Scarf, 116. 

School bags, 118. 

Scientific facts as applied in schools, 8. 

Sequence weaving, 35 ff. 

Serebend rugs, 123. 

Shawls, 109-110. 

Shetland wool, 56. 

Shoes, bed, 113-114; baby, 115. 

Shopping bags, 118. 

Shuttle, Egyptian, 15; Hindoo, 15. 

Silk, 52; knitting, 57. 

Silk canvas, 119-120. 

Silkoline, 51, 83; for rugs or mats, 86-02. 

Skirt, doll's, no. 

Slats, weaving with, 23-24, 30-32. 

Sleeve protectors, 117. 

Slumber robes, 49, 54, 120, 121. 

Socks, 113-114. 

Sofa pillows, 120. 

Songs, games, and stories, 143-152, 148 ff. 

Splicing, methods of, 83-85. 

Splints, weaving with, 23-24, 39. 

Star, 37. 

Steiger, E., publisher, 35. 

Stories, 143-152; list of, 148 ff. 

"Straw Weaving," 104. 

Success, Froebel's theory, 17. 

Sweater, doll's, 41. 

Table cover, 49. 

Table mats, 38, 116, 117. 

Tam O'Shanter, no. 

Tassels, 112. 

Tippet, 116. 

Todd Adjustable Hand-loom, 18-21. 

Towels, doll's, 55, 108-109. 

Turkish rugs, designs for, 47-48, 123-124. 

Vegetable dyes, 58, 61, 72. 
Vegetable fibres, for weaving, 13, 14. 
Veil cases, 120. 

Walker and Jenks, song by, 144-145. 

Warp, 20, 42-50. 

Weaving, its advantages, n, 22 ; old- 
est of the industrial arts, 12, 13, 14 ; 
defined, 22 ; first steps in, 23, 30-41; 
free paper, 35. 

Wheeler, Mrs. Candace, 58. 

Wiebe, Edward, 34-35. 

Wiggin, Mrs. Kate Douglas, 34, 145. 

Wilton rugs, 120-121, 131, 132, 134. 

Woof, stringing of, 20. 

Wool, for weaving, 13, 14, 54, 62 ff. 

Worsted, splicing of, 83. 

Wristlets, 116-117. 



